Disorder in the rave
The dance piece Crowd subterraneously constructs the emotions in time and the intimacy of the spectator.
On the ground of a telluric rave, a free party woven by a minimalist and repetitive electro soundtrack, do the dancers in slow motion mode move towards an evocation in the hollow of the Bataclan attack?
Thus by these exploded juvenile bodies, inanimate on the ground, the deploration of a young woman, or the imperceptible progression of a dancer with her hands full of earth for a mourning ceremony conducted on an inanimate doll being close to the paintings imagined by the painter Hans Bellmer.
The extended duration of the gestures that unrealizes, the strangeness it produces, as well as the logic of the dream or the spectral in which it can participate, shift the perceptual activity of the spectator. It allows access to increased visibility of the movement. Crowd explores the obscure movements of the soul that escape teenage dancers, but especially the emotional regimes that are ours: floating anxieties, chronic misguidedness.
Testimony to this can be found in the couples who form to better relax between daze and deaf terror. Don't they seem to give a human face to this amazing slut? Searching the rubble, stirring the void between beings, nihilism, loneliness, pain and ecstasy, the body fable unfolds. Recalling at times the somatic body states of Gus Van Sant's Last Days, the hallucinated and jubilant, desperate and spectral trance probes adolescent figures, alternately anaesthetized and emancipated in ecstasy, progressing between latent violence and the pleasure of dance possession.
#GisèleVienne #Crowd #LastDays