Umwelt has been awarded the Bessie Award.
It is not a question of doing the impossible but of exhausting the possible.
The world is complex.
That’s what they say.
We never stop saying it.
We never stop believing it.
But this complexity entrenches us. Pushing us to believe in our own impotence.
Nevertheless, it’s simple, we’re still here, alive.
Active, regardless of everything.
Ceaselessly testing what is possible for us (small or large).
That’s where we are.
Inventorying what is possible.
Toying with the possible without achieving it.
Going to the exhaustion of possibilities.
An exhaustion that renounces any order of preference and any organization of purpose or meaning.
We don’t prefer one over the other.
We don’t achieve any more, even though we continue to accomplish.
And it’s because we won’t stop wanting to live, not only be born, to experiment, not only observe,
that we extricate ourselves from the complexity.
So that the complexity becomes multiplicity.
So that the world is no longer complex, but multiple – plural.
A multiplicity where the exhaustion of that which is possible composes. Gives rhythm.
A multiplicity filled with uninterrupted movements, with accelerating, with releasing.
Constant alterations which give us the joy of the unpredictable.
The joy of giving ourselves the potential to act.
The joy of living our capabilities for transformation.
We’re not made once and forever.
We don’t know what a life – or a body – can do or be?
We don’t know what postures and positions will spread from our interferences
(external and internal)? Positions, postures, accidents, dissonances, steps and paths, approaches,
exhaustive positions setting off in diverse directions –
Better sitting than standing and lying than sitting. (Samuel Beckett – Malone Dies)
And then, create the possible as one carries it out.
Because there is no existence except that which is possible.
Too much to do with a possible more and more restricted to care about what is still happening :
the highest exactness and most extreme dissolution ; the indefinite exchange of formulations and the
pursuit of the formless or the unformulated.
Photo: Rémi Angeli
Premiered at the Toboggan in Décines, Novembrer the 30th 2004.
Choreography and design Maguy Marin. with 9 performers . music design Denis Mariotte . lighting design Alexandre Béneteaud . costume design Cathy Ray with Chantal Cloupet and Aurora Van Dorsselaer . sound design Loïc Goubet set design Michel Rousseau
New production 2013
Assistant Cathy Polo . set design Albin Chavignon . sound design Antoine Garry . costume design Nelly Geyres
Le Théâtre de la ville (Paris), Maison de la danse (Lyon), Le Toboggan (Décines), Centre Chorégraphique National de Rillieux-la-Pape /cie Maguy Marin
New production 2013
House on Fire, avec with the financial support of Programme Culture de l’Union Européenne, théâtre Garonne – scène européenne (Toulouse), BITTeatergarasjen (Bergen-Norvège) Kaaitheater (Bruxelles-Belgique), Compagnie Maguy Marin
The Company Maguy Marin is subsidized by le Ministère de la Culture et de la Communication la Ville de Lyon la Région Rhône-Alpes and with the financial support for touring abroad from Institut français.
24 Umwelt – Le Tangram, Evreux (FR)
26 Umwelt – Le Rive Gauche, St Etienne du Rouvray (FR)
2 Umwelt – Maison de la Danse, Lyon (FR)
3 Umwelt – Maison de la Danse, Lyon (FR)
8 Umwelt – MC2, Grenoble (FR)
9 Umwelt – MC2, Grenoble (FR)
16 Umwelt – Festival Equilibrio, Roma (IT)
8 Umwelt – L‘Espal, Le Mans (FR)
11 Umwelt – La Comédie, Saint-Etienne (FR)
12 Umwelt – La Comédie, Saint-Etienne (FR)
13 Umwelt – La Comédie, Saint-Etienne (FR)
28 Umwelt- Tanec Praha, Prague (CZ)
1 Umwelt- Hellerau, Dresden (DE)
2 Umwelt- Hellerau, Dresden (DE)