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In this creation, "Tactile Sensations",
Our thinking as visual artists lead to a particular scenic arrangement,
One that isn't front-facing, the audience is seated around a circular dance mat.
We wanted to provide this proximity with the dancers
and we've created a communicative, interactive garment:
different areas of the dancer's body are sensitive to contact and touch from the other dancer.
So any touch or pressure will change the sound and light
and create the musicality of the show, the lighting on the stage.
We allow the audience to immerse themselves in an all-encompassing bubble,
made easier by the circular seating of the audience, like in an arena.
The audience sees the dancers on the stage and, at the same time,
perceives them through their ears, skin, and through light…
things that would remain invisible and intangible without this garment
can be sensed in this performance, it's almost a kind of intimacy
The acoustic variations are heard whenever the skins of both dancers touch.
The type of contact gives off a wide range of variations.
When designing the choreography with Anne Holst (K-Danse Company)
we always tried to strike a balance between technology and dance.
We use musical and luminous materials as our method of translating
bodily states and the emotions of the dancers during the show.
The experience in itself is never the same,
from one performance to the next, the sounds, the light interactions will vary,
and despite their common thread, each performance is different.
This element of unpredictability is what interests us and we want to keep that in this project.
We are constantly seeking out and creating: our work is very experimental.
We had to create an entire artistic structure from A to Z, even the costume is handmade.
So we're always seeking out new ideas with the audience as well as the performers.
We wanted to integrate our artistic sensitivity into this creation
and we were able to do that through our technological skills.
Translation: Trad Online