Création 2010
selected Aerowaves 2011
solo 40 minutes
Conception Camille Mutel | Danse Camille Mutel | Composition musicale Gilles Gobeil (commande d’état) | Création lumière Matthieu Ferry | Masque Olivier Weber
Coproduction L’Actée Théâtre, Centre Culturel André Malraux|Avec le soutien de la DRAC Lorraine, du Conseil Régional de Lorraine, de la Ville de Nancy, des Plateaux Lorrains|Résidences TROIS C-L Luxembourg, Fabrique de l’Ephéméride (Val de Reuil), Duncan 3.0 (Rome). Remerciements ZKM (Karlsruhe)

Effraction de l’oubli est une remontée lente et minutieuse entre intérieur et surface d’un corps oublié par lui-même. Le spectateur est invité à voir quelque chose de ce corps avec précision. Le tout est alors occulté pour la partie ;le corps apparaît morcelé. Le parti pris temporel conduit le spectateur à une préhension relative de la durée, à un refondement de sa perception du temps. C’est à l’intérieur même de cet oubli du temps qu’il peut recréer un lien, figurer une image à partir de ces fragments. La présence du corps oscille entre abstraction et cruauté ; ombres et gouffres se succèdent sur une nudité apparemment familière qui se transforme lentement et échappe sans cesse à une définition. L’espace est millimétré ;ses limites infranchissables dessinées par la lumière l’apparentent à un labyrinthe. Centré, ce corps n’est nulle part. Il n’appartient à aucun espace. Il est sous le regard. Il s’est constitué objet du regard, objet du désir s’il en est. Et l’oeil qui se pose sur ce corps, et malgré lui sculpte, ampute, reforme ce qui est sans forme, tente de prendre, de comprendre, de reformer ces bribes d’insaisi, enfreint l’objet en lui donnant un sens.

Camille Mutel

BURSTING INTO OBLIVION Creation 2010

I began to think about "Bursting into Oblivion" in July 2008, by reading Maurice Blanchot's "Orpheus Look". During the creative process, I wanted to delve deeply into the moment where Orpheus turns towards Eurydice and reveals the emptiness that opens to imagination. But I'm not speaking about the myth.

What am I speaking about? About emptiness as a question. About casting a look that bursts into this emptiness. About desire, fathered and revealed. About the creative process.

What member in the audience is watching? A woman's body. Nude. The body made of flesh is wearing a death mask, which is created from the face of the dancer, by Olivier Weber. The smile on this mask is inspired by the smile of L'inconnue de la Seine (the unknown woman of the Seine) a famous death mask made in the beginning of the 19th century that, for a generation of French artists, has represented the bliss of death. It is not to transform the body into a character but the contrary; to take the body's humanity and transform it into an unamed and unidentified entity, yet conserving the mystery of a body which is neither dead or alive, an image, a recording-oblivion.

The face is the most obvious expression of the body. If I take off that expression and combine it with the look of the body (the mask is blind), I reinforce the state of the body's flesh. What about the consciousness of this flesh? At first, it is perception (warmth of lights, tactile marks on the stage floor), that causes movement. Then it seems that the awareness of being looked at makes the body open towards this look and it is aware of its own image. So the image itself causes movement a second time, its own image and searching to be looked at. From that look, the body is named as a body. It finds an outside identity. Then the notion of limit appears; temporality and boundaries. Cut-the body tries to unveil, to open, to quarter and join the Inexhaustible, the Unthinkable from where it originates and from which it is now exiled. From this attempt to turn back to what is unspeakable, arises a choreographic language that looks for the consciousness of inwardness and the image of this inwardness.

Light is the second entity in this creation. Light is the one who shows the body. It selects, sculpts, amputates, and builds an image; the way the light breaks up reveals the body. And it is at the exact place where looking is indicated by the light that part of the body disappears. It disappears into an unceasing birth.

Music stimulates the vision of an inner and an outside landscape with the recording of the voice of the dancer used in a composition made of multiple layers of sound. Layers that open or close the space, with four speakers placed around the defined body to a fixed point and to silence.

Camille Mutel

Loading more stuff…

Hmm…it looks like things are taking a while to load. Try again?

Loading videos…