In a dark room, we find two men forehead to forehead, sitting on the floor, heads connected by a helmet with an organic look. They are surrounded by silhouettes motionless and tense. In parallel in a sanitized white space, these two men face each other at a distance. They seem to have the power to influence the behavior of the other. Their violent and fierce manipulations quickly blow them to the limit of the knockout. This struggle has the effect of animating the individuals around them in the dark space. Alain Chamfort is the link between these two spaces. He is the witness and the narrator. He walks in the dark towards a ray of light. In the air there are particles that gradually draw a yellow landscape, a chaotic exterior that indicates a post-apocalyptic era. A child appears in the distance through the yellowish fog. He walks in the midst of a group of women and men of all ages walking in the same direction, looking out at the horizon of a new land.
The duo evokes the contradictions of a single individual facing himself, he also represents humanity. The clip shows a dark face that gradually evolves towards sharing, listening, understanding. It is a form of rebirth by setting off dust in an animal movement that is humanized. The spaces of protection, the different closed spaces, the charged and colored air, indicate an unbreathable exterior, but it is not the nothingness … The fact that the frozen bodies come back to life during the evolution of the duel, suggests the influence of our actions on everything around us and that man would have the power to reverse the course of things, the possibility of a second chance. The dust brings back to a primitive side, to the stars, to the universe.
The choreography and its setting in space leave a static state, the register of the intimate evolving towards bodies in full effusion. There are two distinct choreographies, that of the duo of dancers where the fight evolves towards a form of harmony, and this same duo immobile in another space with dancers (r) all around, linked to each other in a circle who eventually relax and become animated. Impulses, uncontrolled gestures begin to emerge. The dance is inspired by trances, rituals, traditional dances and martial arts.
THE SHE-WOLF, 10min., France, Dance
Directed by Virginie Kahn
Marion mysteriously appears in a clearing populated by marauding wolves. Attracted by the melody of a cello, a strange dream brings her to the heart of a wonderful forest. But as she tries to get closer to the cello, their bodies gradually cover themselves with a strange bark-colored skin.
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Choreographed, directed and shot from disability perspectives, this dance-on-video short contrasts the playful connections when disability aesthetics, community and a ramp meet the institutional histories and discordant inclinations that can lurk just below the surface.
“I Dance Because I Can written by Alice Sheppard”
The New York Times