At the articulation between movement and plastic art, this project questions itself on the multiple barriers that, after a period of relative and perhaps utopian free movement of beings, civilizations are once again erecting everywhere. Walls deconstructs and disarticulates materials and space, to consider other worlds of encounter and exchange between bodies and matter.
Production 2018 - flow
flow mark the first collaboration between Compagnie Linga and KEDA, the French- Korean duo formed by Mathias Delplanque, electronic musician, and E'Joung Ju, player of geomungo (traditional Korean string instrument). Their duo, formed in 2010, counterpoises the ancestral sonorities of geomungo with textures, rhythms and electronic treatments.
With the hypnotic, warm, dancing and stateless folk music of Keda, specially composed for the piece and performed on stage, we imagine for our dancers a joyful kinaesthetic experience, original and jubilant.
Seven women breathe life and creativity into this project. Ona (Polish word for "she") fathoms the bonding moments shared by these artists and dancers, when personalities merge and transcend.
In TABULA, the rules of the game are constantly changed by the impressive set movements. Here space is keyword. A space that is shared, conquered, and claimed by the eight dancers, who provide a highly-sensitive, contrasting, and powerful interpretation.
Three performers with very distinctive backgrounds will give birth to this project, having chosen the solo format to fully reveal the artist's intimacy. They will appear onstage for a piece of intimate dialogue, public confrontation and self-questioning.
re-mapping the body
Equipped with wireless physiological sensors the dancers transform the movements in sound, creating the sound track of the piece.
In Falling grace we search the point of inflexion where everything can crumble or be restablished. Acclaimed and commercialized, what society calls balance results in a desire for domination and control.
For this creation we started with a questioning: can the authenticity of a gesture still provoke an emotion at the era of superficial physical performances and multiplication of ostentatious images?