Calixto Neto
IL FAUX
IL FAUX, Calixto Neto © Beniamin Boar ©
IL FAUX, Calixto Neto © Beniamin Boar ©
Choreography and interpretation, Calixto Neto
Artistic collaboration, Ana Laura Nascimento and Carolina Campos>
Artistic advisor, Luiz de Abreu
Administration, production and diffusion, Julie Le Gall
Lighting design, Eduardo Abdala
Sound design, Chaos Clay
Set and costume design, Rachel Garcia
Vocal coaching, Dalila Khatir
Touring stage manager, Marie Prédour
Stage manager during creation, Emmanuel Fornès
Sound and stage manager on tour, Marie Mouslouhouddine
Delegated production VOA I Calixto Neto
Production Bureau Cokot - Julie Le Gall - Technical Direction Emmanuel Fornès
Coproduction Kunstenfestivaldesarts (Brussels) ; Charleroi danse - Centre chorégraphique de Wallonie-Bruxelles ; Festival d'Automne à Paris ; CND Centre national de la danse (Pantin) ; ICI-CCN de Montpellier - Occitanie / Pyrénées Méditerranée - Direction Christian Rizzo, as part of Par/ICI ; Theater Freiburg; CCN-Ballet national de Marseille as part of the Accueil studio / Ministère de la Culture; CCN de Caen en Normandie as part of the Accueil-studio; Cndc-Angers; Centre chorégraphique national d'Orléans - directed by Maud Le Pladec
With the support of Villa Albertine in partnership with the French Embassy in the United States and Teatro Municipal do Porto Rivoli - Campo Alegre
With the support of the Fondation Calouste Gulbenkian - Délégation en France
Thanks to Marlla Araujo and Jaqueline Elesbão, Dai Ciríaco
Co-produced by CND Centre national de la danse; Festival d'Automne à Paris
Starting with the initial premise that a black body is by its very nature exposed to the danger of expropriation, or that of being stolen from itself, Calixto Neto tries to resist against exterior control and the risk of annihilation. In this exercise in ventriloquism, the Brazilian choreographer searches for the words with which to write dance.
Does a black body really belong to itself? By posing this question in an up-front way, in IL FAUX, Calixto Neto, highlights the systemic threat posed to racialized and minority bodies, thereby questioning the danger and violence that the contemporary world offers them, and the way in which this historical heritage is passed on. The history of the body that he constructs and which unfurls onstage is thus that of a process of “debodying”, as he calls it, and which propels him into a strange undertaking, that of self-fabrication. How can we respond to our own loss? Via resistance no doubt, perhaps through compensation, but definitely through dance. For Calixto Neto, only the affirmation of a vital life-force is sufficient enough to oppose the forces of negation of which the black body is the object and which attempt, from the outside, to take control of. As a moving target and puppet, the artist makes use of a ventriloquism mechanism which throws the regime of his own identification into disarray. Placing himself between spoliation and fictionalization, he looks into words as a means of expression and into language as means of consolation, with no guarantee of managing to do so.
In the same place
Radouan Mriziga Atlas/The Mountain
In Atlas/The Mountain, the Moroccan choreographer Radouan Mriziga transforms his body into a catalyst for energies and traditions from the Atlas Mountains. This solo in the form of a ritual is transcended by polymorphic figures and captivating rhythms.
Latifa Laâbissi, Antonia Baehr Cavaliers impurs In a visual installation by Nadia Lauro
Following on from Consul and Meshie, Latifa Laâbissi and Antonia Baehr bring us a duo in the form of a series of heterogeneous sequences, interlinked by a common thread of the impure, hybridization and collage. They combine their respective vocabularies, such as the relationship with the expressiveness of the face, and the crossing of genres, registers. Over the course of different numbers or acts, Laâbissi and Baehr interweave their respective universes, thereby overturning the various choreographic codes and blurring the frontiers.
Elsa Dorlin Travailler la violence #4
How can we work on violence? How can we put into perspective, stage and retell it? How can we tear it to pieces? The purpose of this two day-long series of encounters, put together by the philosopher Elsa Dorlin, will be to update what critiques of violence teach us and to make an inventory of the various weapons of violence collected.