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Fiery dream.
Dream, Fabrice Lambert’s solo, opens with Anna Ådahl’s skin-close video trip. From the minute detail to the whole dancer’s body on stage, a thousand ways of looking, a thousand points of view can be experienced. We are nowhere inside language; the foot is often resting on the outside edge, time is counted, the stage is filled, but no image imposes itself. A dream free of light effects but lit up adequately, even from the back as the dancer engages in a real dialogue with the spectator.
Marie-Christine VERNAY Libération 03 / 06 / 2002
Fabrice Lambert’s Dream is a cruel disruption of time and space. First, a video by Anna Ådahl presents us with unusual body shots: The Adam’s apple rolls down the neck like a skin marble; the back is a map charting bones like rocks; the hand’s surface shows veins rising like undertow, breaking onto small, delicate finger bones ; armpits resemble a thorny bush alight with beads of sweat. Then, the sound of amplified breathing– that of Fabrice Lambert, alone on the stage. Hardly supported by soft, melting feet, he reaches up, fingers twisting like roots. One hand in the air seems to be searching for silence, attempting to grab it. One lonely hand pulling, dragging the whole body’s carcass.
Muriel STEINMETZ L’Humanité 03 / 06 / 2002
In Dream, Fabrice LAMBERT (Company L’expérience Harmaat) invites the spectator to explore boundaries of body and movement, to make out every articulation involved, to witness the effects of gestures on the epidermis. An invitation to experience in the extreme the act of dancing through a solo choreography acting as a response to Anna Ådahl’s video, whose close-ups examine surface (hair, lines, folds) and deep skin networks (articulary and muscular contours of the moving body). Lights sculpts movement, and so does the exceptional dancer delivering acute and intense gestures carefully, thoughtfully honed. An inch by inch refinement before near freezes conjure up the great Carlson. The resolutely vertical body faces the audience, rooted in a beam of light. It bears witness to the deeply-felt movement, exhausting all possible extremes, trying all articulatory combinations. The audience feel it coming. They enter the flow, the thought that the dancer brings across successfully, involving them in movement elaboration, from nimble or dislocated. Dream is an unmissable praise to dancing gestures: the delightful feet soles dance alone makes it a must-see.
Pascale ORELLANA Axé Libre-Scènes May 2002
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