What is more liberating or constraining for a body than to be confronted with a rhythm? To slide in it, to abandon itself there, to submit to it, to become undone and find its place, to transform it from the inside… It is at the heart of this paradox that Maud Le Pladec placed the motor of her creation, like a choreographic machine out of which subjective and political questions would escape. Pursuing her research on contemporary music, she delved into Democracy Against the State by Miguel Abensour a source of indetermination and excess, transformed into a reflection on how to live together.
Her artistic issues and concerns unfolding, she then applied this notion to the disturbing force of the musical piece, Dark Full Ride by Julia Wolfe, an unbridled cavalcade of toms, cymbals and bass drums, combining the power of rock and the principles of repetition and miniscule variations of post-minimalist music. Extended by the partition that was composed in response by Francesco Filidei and performed on stage by the ensemble TaCTuS, the music forms a base and a setting, a living tissue which envelops, expels, encloses or intensifies the dancers.
It is an apparatus that they derail, adapt and change the inner workings of. Subjected to the pressure of skin and muscles and of hits and steps, the stage becomes a place of exchange where figures pass through and spread out like so many allegories of political invention: large-scale fleeing in conflictual situations, singular incarnations and accidental encounters, networks of senses and references intermingle, letting the idea of a rising democracy transpire, a vector of Utopia. Between chaos and balance of forces, scrupulous partition and vital excess, Democracy offers a dance charged with states, ideas and rhythmicities and it is the medium for a polemical community where dancers and drummers strive to undo their established places. One by one, isolated, festive, occupied, multiplied, dragged, dispersed, united, their bodies transport the ferments of a wild democracy.
— Gilles Amalvi
Photo: Konstantin Lipatov