PERSONAL WORK #5
DIGITAL ART CREATION
ARTDIRECTION, DIRECTION & CHOREOGRAPHY JULIEN GAILLAC
CHOREOGRAPHY ASSISTANT EVA ASSAYAS
DANCERS ADÈLE BORDE, MANON DUBOURDEAUX, ANOUK VIALE
MUSIC AARON EVO
IMAGES ÉMIE KIRSCH, FLORA MATHIEU, ROMAIN LALIRE
THANKS THÉÂTRE NATION DE CHAILLOT, LA CROISÉE DES ARTS DE SAINT-MAXIMIN, LE CENTRE DES ARTS ENGHIEN LES BAINS
Like an exquisite corpse in three dimensions, whose layers would be at once choreographic, musical, theatrical, this polymorphic piece questions creation in its relationship to the moment.
Rather than tending towards the elaboration of a final form, Mutant is a construction in the making which will never cease to be. According to this principle, which borrows from the surrealist movement the idea of automatic writing, freed from the control of thought, Mutant is a creation in constant evolution whose engines are none other than the bodies, their environment and their encounter within this environment.
The form that will appear will then be one of the possible answers to the question posed by this research: what mutations does the body go through in contact with what surrounds it?
Mutant is not a search for form, it is a search for sensations. By opening the question of the process of writing a work and its representation, the staging is inspired by the great principles of surrealism, frees itself from the control of reason, frees itself from the constraint of meaning. The idea is to show the very process of creation.
Mutant makes chance one of the essential constituents of its staging. Devoid of any narrative intention, stripped of any affect, it is the fruit of random compositions. Starting from a score, in the form of an exquisite corpse game inspired by automatic writing, the staging is constructed randomly. This score will represent the very process of creation and will be the basis for the development of a unique composition mechanism.
Mutant is a confidence challenge that artists take on to play live. A way to place this show in the living. By replaying its impact at each performance, Mutant invites less to reflect than to experiment, to arouse an awakening to oneself both for the artists on stage but also for the public.
We empty our mind, we let the gestures flow spontaneously. We let a kind of dictation of the unconscious take place. As André Breton calls it in the Manifeste du surréalisme: “trying to draw from ourselves an uncontrolled monologue likely to reveal an “absolute reality, a surreality”.
The gateway which, in my personal journey, guided me towards choreography is pedagogy. Above all, this project is driven by a strong interest in the search for a pedagogical method. By highlighting the technical acquisitions and the fundamentals of contemporary dance and by using these physical principles, I seek to initiate a passage towards the invention and renewal of body language, towards a training system for the dancer who passes to both through improvisation and composition.