EDGING by Guillaume Marie, Igor Dobricic & Kazuyuki Kishino (aka KK Null).
A video by Antoine Verbièse filmed at La Ménagerie de Verre (Paris)
EDGING: Sexual technique of arriving to a climax, then purposefully interrupting stimulation in order to delay a moment of release.
HIKIKOMORI ("pulling inward, being confined"): a Japanese term to refer to the phenomenon of reclusive adolescents or young adults who withdraw from social life, often seeking extreme degrees of isolation and confinement.
LASER : “Light Amplification by Stimulated Emission of Radiation”
The catastrophe is not coming, it is here. We are already situated inside of it.
When the world is holding itself together through the infinite management of its own collapse it is useless to wait for a breakthrough. In fact, to go on waiting becomes madness.
That we are deriving pleasure from the repetition of our habits in the midst of the catastrophe is what makes this repetition into a ritual. Our own desperate art work.
> About EDGING, by David Dibilio, journalist, curator for Jerk Off Festival and Point Ephemere (Paris)
The stage is entirely covered in intricate loops of cables, evocative of the circulation of desires, of a pretence of sadism, of sensuous attachment, of the high-tech bonding that keeps our lives together. With their armour-like SM props and outfits, the two artists perform a thoroughly restrained choreographic ritual, an ecstatic trance where each movement is hampered, halfway between pain and desire. This is the meaning of edging, a sexual practice consisting in reaching the tipping point of arousal and then in willingly interrupting the stimulation in order to delay the climax. To postpone the moment, to dance on the edge of the abyss, of orgasm, holding on, then off, not to sink into the madness of sex, into the folly of the world. For the world we get a glimpse of in Edging is on the road to ruin, running on empty but never taking the leap. Holding one's breath, slackening one's pace, suspending one's gesture.
This hypnotic ceremony does not conceal the truth. As in The Blind Beast by Yasyzo Masumura, an influence Guillaume Marie acknowledges, the performance is enclosed in a claustrophobic space inside which the two dancers reach out for each other before the worst happens, if it ever does. First muffled, the atmosphere becomes oppressive. Sex is not enough, the setting gets darker. The original sountrack composed by Kazuyuki Kishino carries the whole performance along, letting us hear the pulse of a heart or the shiver running through one's flesh then building up pure chaos by a succession of crises and borderline states, on edge.
Indeed, the worst doesn't happen because it is actually happening. It has happened but hasn't brought about any new world for us. There is no room for redemption or transcendance there, no god, no hereafter. It is this immaterial frontier, out of reach, symbolized by several minutes of laser mayhem ushering the finale, a psychedelic flood, a changing of scales, the end of a world and a technological climax. The laser in Edging mimicks the folly of men. It is a merciless flow that spares none, neither on stage nor in the audience. It doesn't leave anything behind except exhausted bodies, injured but consenting, as if desire could be sparked anew, out of pain, of chaos, of nothingness.
Choreography : Guillaume Marie
Dramaturgy : Igor Dobricić
Music : Kazuyuki Kishino (aka KK NULL)
Performed by : Guillaume Marie et Suet-Wan Tsang
Costumes : Cédrick Debeuf
Light : Abigail Fowler
Technical Director/Sound Engineer : Stéphane Monteiro
Make-up : Rebecca Florès
Graphism : Grégoire Gitton
Production-Booking : Guillaume Bordier
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With the help for the translation of Stéphanie Gitton
Production : TAZCORP/
La Ménagerie de Verre (Paris), Ville de Strasbourg, Emmetrop (Bourges), CDC Paris Réseau/Étoile du Nord (Paris), Ballet de l’Opéra national du Rhin (Mulhouse), NagiB Festival (Maribor, Slovenia).
Centre National de la Danse (Pantin), Danse Dense (Pantin), La Ménagerie de Verre in the frame of Studiolabs (Paris), Théâtre Hautepierre (Strasbourg), Théâtre du Marché aux Grains (Bouxwiller).
Special thanks :
Théâtre National de Chaillot, Centre national de la danse, Atelier Bas Et Hauts.