Creation notes
TresseS is a choreographic piece for aerial rope.
The musical score for TresseS is based on the melodies of the bandoneon, which are transformed and multiplied to create an arena of sound. These are sound loops that repeat, move, join, unfold and transform themselves, and in them we hear both the movement of the waves and the inhabited silence of the northern forests. It's a music that takes us inside a space that would be the volume of time.
For this show, I wrote the score for the corde lisse based on Philippe Ollivier 's pre-existing musical score, so that each gesture and each tone of the body responded to that of the music.
TresseS is a 33-minute dance without touching the floor. The movement is slow, a continuous breath, an unfurled beat like the wings of a ray or those of a bird in the currents. From loop to choreographic loop, endlessly repeated, deployed and suspended, we pass through the states of gravity and density of life. Initially dark, it turns out to be extremely luminous.
TresseS gives me the feeling that I'm approaching the place I've been trying to reach for a long time. It's perhaps the culmination of a search that began long before my circus career, a search for language that took flight from the depths of pages and university benches and became the path of a rope on which to dance. It undoubtedly took all that time and finally the intensity of this artistic encounter with Philippe, whose music carries this aspiration, to manage to say without uttering a single word.
Immersive show
TresseS is a spectacle that interacts with the architecture and landscape of the venue in which it is performed. The visual elements, with their pure geometric lines, blend harmoniously into the environment while adding an unusual dimension. At the same time, the eight-channel sound universe subtly infiltrates the architectural nooks and crannies, the crevices of the building and the vegetation where it hides.
.The small, battery-powered loudspeakers remain virtually invisible when placed in the grass, attached to branches, nestled in bushes or tucked between rocks.
The variable distance between the loudspeakers, from a few metres to several dozen, generates natural spatialisation and organic depth.
Their measured sound level allows a delicate fusion with the ambient soundtrack of the site. The music blends in with existing sounds to create an "enriched acoustic". This illusion is reinforced by the incorporation of birdsong, amphibian croaking and insect stridulations into the soundtrack...
The audience then finds itself immersed in a transformed sound space, not necessarily aware of the extent of the changes made.
Inspiration note
La Machine infernale, Jean Cocteau, Acte II, extrait (1932).
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