Disgrâce

Can grace spring from disgrace?

Dance constantly reinvents the community and puts it on stage. But by observing the dancers who have made this company what it is, with the purity of their movement, and realizing the tremendous differences in their training, culture, experience and attitudes, the desire arose to choose incompatibility as a subject. There has been, there was, and there will be. Just like in life.

By its very nature, dance is nourished by differences, tolerance and complementary ideas. To deny this common ground by only dealing with the effluvia that punctuate one human reality condenses the parable of a newly dislocated society into the certainty of selfishness. The mark an individual leaves on his surroundings intensifies resulting in a wave of self-preservation, imprisonment and isolation.

The seductive risk of an unsuccessful mosaic takes shape, the particulars of which are by definition insoluble among themselves and unable to create an image. Suddenly overturned, the starting point of a choreographic creation is no longer the gestural language and what that implies in the way of sharing syntactical or stylistic elements, nor is there the subtle balance between self-realization and the merits of a fluid, harmonious ensemble. There are certainly beautiful and fascinating people, but each person is laden with intolerable paraphernalia in the eyes of others and encircled by the edifice of his own construction.