Boris Charmatz/ Musee de la danse “Enfant”

Boris Charmatz/ Musee de la danse

1 big Machine, 9 adults, and 10 children.
boundaries, manipulations.





“A crane, a rotating ramp, and a pumping floor. In the room, which is illuminated in blackish-blue light, there is nothing to be heard except the metallic buzzing of machines that repeatedly jerk the dancers aloft and prevent them from standing up. The starting point for Boris Charmatz’ “enfant”, a choreography for nine dancers and ten children, was an interest in how the human body is at the mercy of machines. In “enfant”, the choreographer focuses on the relationship between the child and the adult’s world, thereby questioning the often unnoticed mechanisms of everyday manipulation that the oblivious body is subject to: the children appear lethargic on stage, as if they were sleeping. In the hands of adults, they become objects with no will of their own. But then, the relationship reverses and the boundaries between adult and child, passive and active, or man and machine blur until the children completely take control. Political and aesthetic unpredictability become artistic principles. From the initial dance of the sleepers, the abandoned or the defenceless, an anarchic choreography of autonomy emerges – a tangible, empowering force.”

오늘 보고 왔다.
At first, a machine manipulates the bodies of adult dancers.
Then, the adult dancers start to move themselves.
Then, the adult dancers manipulate the bodies of the enfant dancers.
the Enfant dancers are completely immobile.
Then, enfant dancers start to move themselves.
They finally begin to dance together.
Well it’s rather movements than dance.
Then, the adult dancers become immobile.
Then, the enfant dancers manipulate the bodies of the adult dancers.
The end.

In the beginning part,
He only uses the sound of a machine.
Then the noise begins.
Then the Michael Jackson’s Billly jean. Haha!
They yell, shout, and scream.
And they begin to sing.
And the children follows.
And in the climax part England BagPipe.

It was quite interesting.
I would rather call it a performance than a ‘dance’ performance.


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