for 1 female & 3 male dancers

First performance: 08/06/2001, Theatre Jacques Cœur, Bourges
Music: Pierre Henry, Ludwig van Beethoven, Kurt Schwitters, Sheila Tsaindra

I saw the phenomenon of the language taking
dimensions that I had never suspected.
ODYSSEAS ELYTIS, Cards on table

The choreographer uses the language of the dance
as we use a tool to say the world: the performance:
«The language of rupture» is a mirror held to read
the man who is standing upright in search of the man
who has to release himself from his own fall.

I like committing myself to the human being, to the dancer in this particular instance, and for this ballet to gather the individual pulsations in a rhythm voluntarily broken in the «acme», the peak, of its action in order to reveal the non-being of the presence.

It is, thus, more important from a choreographic point of view to consider time in terms of flat sequences and to bring into light the rhythmic intensities which allow the release of any form of life (our weakness is always from our emotional side, the one which allows us to be great, which makes us relatable).

The strength of the dancers is to be fragile, always at the edge of the rupture. This is why they narrate themselves, this is why they become demigods for a few moments, ever-changing, always on the move, in front of the public, alone before their death and their revival into another demigod, in front of yet another public, always alone as well…

Aenaon Dance Theater - Daniel Lommel