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Man needs Man. Man needs the gaze and the desire of the other. It’s all about magnetic theatre. Distrustful of the unknown, of the other, dancers keep away from, or melt into each other through sheer power of resonance. Paradoxically, peace seems to be preserved through fear, through reciprocal distrust between man and his own environment.
The body in terms of space. Space is exhilarated, absorbed, overtaken, subjected to self-invasion. How long, how far ? The boundary wonders, and crosses over space itself, now reflecting its own deformation. Theatrical space is a witness to this phenomenon. Space is a vessel – communicating. In and out. The space is fenced off by a magnetic tape, responding to four Revox machines, one in each corner, all activated by an invisible actor. The actor organises, reorganises and disorganises the image he is presented with. He has the right because he watches. It’s all about intrusion. It’s in front of us. In and out, it fills, it sticks, it flows, it stretches. It’s flesh and sound. The eye starts revolving.
Interview by Gilles Amalvi for the program of the Rencontres Chorégraphiques (April 2003) :
L'Expérience Harmaat is a laboratory where image and sound feature prominently. For this piece, the space is fenced off by a magnetic tape activated by a sound operator. This allows him to interact live with the dancers’ release of acoustic energy, which can then be reinjected into the game. What exactly did you find interesting behind the idea of working with and from a soundscape ?
Fabrice Lambert : I’ve always been susceptible to sensory and reactive spaces. Not so much sound, light and video in themselves but rather the tension such spaces impart onto the body, the way they may echo or distort my physical impulses. The sound and theatre scape visualize the body’s projection through space. A sound movement is created. This piece is also the result of a collaboration with Denis Gambiez. We wanted the interactive process to regain some archaic – hence analogical, character.
How did the dancers relate to the soundscape during the creation ?
The soundscape introduces a delay between the action of the interpreter (of the dancer) and the sound response. Such a delay compels the dancer to question his/her impulse in real time. The body becomes a sound impulse.
Your performance seems to create a new tension between physical intimacy and public play area. How do you go from one sphere to the other in terms of body image ?
The show opens with a collective game which slowly releases the inherent subjectivity and physical drive (more than intimacy) of each dancer. The game gradually staggers, stumbles and stoles before it starts again. The desire, sometimes the empowerment of the other, lay down signs that guide you along the way, until the game is over.
How do you approach the boundary between the moving body and its representation ? Does sound bring a new dimension to the body representation ?
The soundscape marks an area that is totally closed-off, fenced-off, protected, impossible to cross by the dancers. It is like a play area, or a boxing ring. It’s not just about the body and its representations, but more about the group and its representations. The limits of the individual, the limits of a group. It is a foursome, four people observing one another amidst a free space, a space of free expression : a space that can be crossed but that the individual doesn’t dare to cross, probably out of weakness.
The idea of play area certainly implies some intersubjectivity among the dancers, but also between the sound operator, the actors and the audience. How did you tackle the issue of relating to the other ?
The sound operator interacts with the dancers by reproducing or distorting what they give him to see. The audience witness this exchange and watch the power relations between the dancers and the feedback they receive from the sound operator. Playing is a pleasure principle which leads every individual to their most intimate recesses.
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