FILM by César Vayssié and Boris Charmatz
From Levée des conflits, chorégraphie by Boris Charmatz
film : 14 : 22
loop : 12 : 22
© Musée de la danse / Same Art – 2014
Eleanor Bauer, Mathieu Barbin, Magali Caillet-Gajan, Ashley Chen
Sonia Darbois, Kerem Gelebek, Peggy Grelat-Dupont, Gaspard Guilbert, Christophe Ives,
Dominique Jégou, Lénio Kaklea, Jurij Konjar, Élise Ladoué, Maud Le Pladec, Catherine Legrand,Naiara Mendioroz, Andreas Albert Müller, Mani A. Mungai, Élise Olhandéguy, Qudus Onikeku, Felix Ott, Annabelle Pulcini, Simon Tanguy.
The 24 dancers of the choreographic piece Levée des conflits, by Boris Charmatz, perform an extract of the show on top of a slag-heap in Germany. Film maker César Vayssié and choreographer Boris Charmatz filmed this never ending spiral with their on-board helicopter camera.
A labyrinthine performance, constructed on the basis of an extensive canon of derivative gestures, Levée des conflits is impossible to recreate in its totality: it is a snapshot of 25 simultaneous gestures that the eye cannot take in with a single glance. Rather than try to capture something of this perceptual experience, César Vayssié opted for an unclassifiable film, something between an abstract bird’s eye view, a documentary, and a genre film. Shot in the Ruhr region, on the “Halde Haniel” mining site — an immense plateau shaped like a spiral — Vayssié’s film propels the dance into an indeterminate zone, somewhere between science fiction and anthropology.
Stranded in this lunar landscape, the dancers appear to be carried by an entropic movement, caught in the downward spiral of emotions: the fatigue, the repetition, the bitter struggle with the gestural material are magnified as if under a glass, generating a chaos of juxtaposed physical states. Lashed by the coal dust, the camera lens makes its way through this moving mass, and, in a fragmentary way, reveals the participants in a strange ceremony that has no other purpose than the exhaustion of forms and the depletion of strength. What is there to see? What point of view to adopt? Is this a ritual recorded live, an extreme “flashmob,” a miners’ movement, or an ephemeral monument, visible only from above? Passing from confusion to a bird’s eye view, from sweat to structure, the camera affords us a glimpse of the organic and mathematical machine envisioned by Boris Charmatz: “a permanent and infinite dance on the dark mountain of Halde Haniel, for the man who had created it.”