Échelle Humaine Yasmine Hugonnet
La Peau de l’Espace
La Peau de l’Espace, Yasmine Hugonnet © Anne-Laure Lechat ©
La Peau de l’Espace, Yasmine Hugonnet © Anne-Laure Lechat ©
La Peau de l’Espace, Yasmine Hugonnet © Anne-Laure Lechat ©
Conception, choreography and interpretation, Yasmine Hugonnet
Artistic collaboration, Michael Nick
Assistant, Stéphanie Bayle
Lights creation, Dominique Dardant
Administration, Violaine DuPasquier
Distribution-production, Jérôme Pique
Production, Arts Mouvementés
Coproduction, Théâtre Vidy-Lausanne (FR) ; Next Arts Festival (FR) ; La place de la danse - CDCN Occitanie (FR)
Supports, Pro Helvetia, Loterie romande, Corodis, Fondation Stanley Johnson
La compagnie Arts Mouvementés bénéficie d’un conventionnement conjoint avec le Canton de Vaud et la Ville de Lausanne.
Studios rents / residences, Shanju Lab ; Théâtre de Sévelin 36 ; Centre Culturel Suisse de Paris; Studio LAB - Ménagerie de Verre (FR) ; Atelier de Paris, CDCN (FR) ; La place de la danse,
CDCN Occitanie (FR) ; La Briqueterie – CDCN Val de Marne (FR) ; Centre National de la Danse Pantin (FR)
As part of the Échelle Humaine Festival at Lafayette Anticipations, with the Festival d’Automne à Paris.
In the same place
Rabih Mroué Make Me Stop Smoking
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
Dalila Belaza Figures (version performative)
In Figures, Dalila Belaza looks into the possibility of a universal rite, by inventing an imaginary traditional dance "without origin or territory" that links the present to eternity. This force takes possession of the body, echoing a heritage that each of us carries with us, often unconsciously.
Rabih Mroué The Inhabitants of Images
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
Rabih Mroué Sand in the Eyes
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.