Photo: Martin Benoit
Very airy, the partition offers tasty surprises stage and is growing in volume at the whim of movements that are anchored under the skin and testing for touch.
Experience for spectators in patients that stretch over three hours, El silencio de las cosas presented assumes that we suspend our desire to intellectualize what is happening on stage to surrender completely to the sensations. Asking the sense of touch at the centre of its work, the colombian choreographer Eduardo Ruiz Vergara has around him on the stage with Marie Mougeolle and Sophie Levasseur to develop a series of explorations in the choreographic and performative, which would benefit from some pruning to it to fully appreciate the content.
To promote a letting-go, one chooses to install in the stands upholstered cushions to form its own cocoon and give greater freedom of movement. On stage, court side, are arranged a range of services to tea in porcelain and pans to dishes, around which will be busy the two dancers during the first hour of the performance. Concentrated spread and superimpose the saucers and the cups in the periphery of the plateau, the two women interrupt their work to come and give us cups of spicy hot chocolate. Side garden, behind the board, the musicians, Nathan Giroux and Gabriel Vignola modulate in live sound atmospheres.
A vibration sound comes to break the tranquility surrounded by buzzing remote a carillon. The towers of porcelain in a precarious balance on the ground start to quiver, while, frozen upright, the eyes fixed on the audience, Eduardo Ruiz Vergara is swept by the frequency of sound that intensifies gradually, trembling of all her members, before entering into a trance convulsive. A first sequence of the deployment of which the length does not appear really justified and where the interest of the spectator is hanging by a thread. Because very little is offered to him during the first hour to the breath-taking.
It will therefore have to hang on before the work takes off really — the feeling of hospitality generated by the performers, helping them to exercise — but the game of patience, will all the same be worth the effort.
Very airy, the partition offers tasty surprises stage and is growing in volume at the whim of movements that are anchored under the skin and testing for touch. Our attention is fixed on the tremendous work of weight performed a duet that requires a greater sense of listening, such as this moment where Eduardo Ruiz Vergara is supporting the walk to Sophie Levasseur back up to the hollow of the hands.
In the middle of a row of spectators, relics personal are meticulously unpacked. Objects whose mystery remains to be drill that will accompany a strange ritual final where the performer is using to pull by the hair of the bleachers to the stage. This last danger for the body completes the piece and leaves us with the feeling of being lost for all this time in the dream unfathomable to someone. Resistant to a reading of frozen meaning, El silencio turns out to be a big year of letting go. For well-informed public.
A creation of Eduardo Ruiz Vergara, with Marie Mougeolle, Sophie Levasseur and Eduardo Ruiz Vergara. Sound design and live music from Nathan Giroux and Gabriel Vignola. Presented by Danse-Cité in The Chapel — Scenes contemporary until 26 January.
El silencio de las cosas presented