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Dancer

Geisha Fontaine and Pierre Cottreau confront the links between music and dance in a singular approach where the sounds are so powerful and theatrical that the dance must assert itself. Art and war. 

A group of five dancers and an ensemble of four musicians are gathered on the stage. Some shoot, others dance. Yet, this is not a fight between music and dance, because those who shoot play. They perform the Missa super L’Homme armé, a subtle and punchy musical composition by Francesco Filidei.

This creation features an often announced death (that of art, that of dance) and refers to the violence of our world. But the violence is sometimes muffled, the noise tenuous and the dance stubborn.

The playing of the musicians creates a complementary choreography to that of the dancers. The scenic writing brings together the score of the dancers and the gestures of the musicians, focusing on the modes of development and interaction between them.

It’s a form of “guerrilla” dancing which proliferates, however, like the bugs that spread incredibly even as one tries to get rid of them. Music is both the accomplice and the stimulus.