This communication focuses on À quoi penses tu?, created in 2005, signed by the writer Marie Nimier and dancer-choreographer Dominique Boivin. Result of the latest collaboration between dance and French literature Extrême Contemporain, this piece comes from the common project to decrypt the imagination of the dancer while his body is in motion, to know how he thinks his actions and what think while dancing. The writer has met these "thoughts danced" in the text Vous dansez?, The choreographer put them on stage through her dancers. A connection that mixes, for seventy-five minutes, words, movements and images, as part of a series of duo between dancers and actors and only one. Far from the "commission" of a text for the scene, this creation combines writing and movement to arrive at work in its own right that is interested in one and the other, to the dance "in" and "through" the word written, and vice versa, without the one exceeds the other, without the one transposes or illustrates the other. How the narrative of the text does go to the scene? It is not, perhaps, a write-once you need at the same time the movement and the written word?
La parole incarnée. Autour de Marie Nimier et Dominique Boivin
GRAMIGNA, VALERIA
2010-01-01
Abstract
This communication focuses on À quoi penses tu?, created in 2005, signed by the writer Marie Nimier and dancer-choreographer Dominique Boivin. Result of the latest collaboration between dance and French literature Extrême Contemporain, this piece comes from the common project to decrypt the imagination of the dancer while his body is in motion, to know how he thinks his actions and what think while dancing. The writer has met these "thoughts danced" in the text Vous dansez?, The choreographer put them on stage through her dancers. A connection that mixes, for seventy-five minutes, words, movements and images, as part of a series of duo between dancers and actors and only one. Far from the "commission" of a text for the scene, this creation combines writing and movement to arrive at work in its own right that is interested in one and the other, to the dance "in" and "through" the word written, and vice versa, without the one exceeds the other, without the one transposes or illustrates the other. How the narrative of the text does go to the scene? It is not, perhaps, a write-once you need at the same time the movement and the written word?I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
