Boris Gibé and Camille Boitel's research focuses fundamentally on the perception of the world, putting things into perspective and a quest for the “vanishing point”. In a burlesque world, the Fuyantes carry the spectators away, deconstructing their points of reference, proposing new angles of view to them... Isn't reality just simply a construction?
The Fuyantes deals with the perception of reality in tomorrow's digital society. It takes a real step back from the current system of thought and in particular from the weight that the virtual has imposed on what was, until recently, tangible realities.
For this new creation, Boris Gibé focuses once again on circus arts, but also on acrobatic dance, aerial exploration, object manipulation... The scenography is based on an evolving principle that makes a magic box, a sort of deformable lycra screen, referred to as the “monade”, appear out of an empty space. It gives the sensation of optical distortions made possible through projections of vanishing lines, lights and shadows projected unto mobile and deformable volumes. The moving décor and perpetually transformed bodies in motion carry spectators away to unstable places, by playing on their trust, their faith in images. Boris Gibé and Camille Boitel worked for two years creating this enormous architecture. To begin with, spectators witness the construction of a town, with sprawling horizontal lines. Struggling so as not to lose the vanishing point, the five performers very quickly become victims of this strange geometric town and end up being locked inside. The acrobats are henceforth nothing more than bodies in motion that depend on each other. They walk, they dance on the walls, climb vertically. In a system that has become autonomous, each of them tries to become partisan, once again, of a reality that escapes them.
The approach: the substance, the meaning, the form
In order to overwhelm, to move deeply, les Choses de Rien wishes to take its spectators on a getaway, a voyage of reflection, going back to roots. An ambition where each individual is offered an impetus to reconstruct, to take stock... With this in mind, an intense world has been created, a world that hangs by a thread, an intimate form where each spectator is invited to delight in the ephemeral reality of the performance; where each spectator becomes an actor reading their own script, and as such able to create a personal vision of the things that are merely suggested. Through generosity, through emotion, the poetic fragility of the moment reveals itself.
It was through a lengthy process of creation, going to and fro movement research laboratories, writing residences, scenographic development, making short films, improvisations ... that the scenic writing took form and was finalized. The processes used for developing this scenario also focus on new conventions related to virtual imaging (defragmenting images, zooming in on the scene, 3D simulations), and on diverting rather more theatrical conventions: parallel worlds, in camera, evolutive spaces, spatio-temporal mazes, the principle of “mise en abîme ”, etc. These notions will offer us the opportunity to immerse the public in a disconcerting space where points of view are never-ending.
Where does the movement begin?
From a joint past that belongs to our roaming circus life and from a shared desire to break free from our initial practices and head towards writing a new form of choreographic language, where we push the body to new heights, in its command of the ground and the air. The performers' body language techniques develop from the dramaturgy of the show which is, itself, totally ingrained right up to the final writing. Attachment to the very essence of the circus.
The circus continues to be the matrix of our projects. It is not the demonstrative, colourful or festive specificity that binds us to it, but much more simply the way it approaches the public, its faculty to move the world, its ability to break down barriers and to go beyond the limits. Because, after all, circus is multiple, it thrives on every artistic discipline imaginable, that helps it unveil its “popular art” more optimally, yet it remains inventive and highly-demanding. Nourished by acrobatic dance, aerial exploration, object manipulation, we intend to develop these techniques on materials and equipment such as: scaffolding, bouncing slings, stairs, ladders, slippery floors, wire latticework, timber laminates and perspex plates, climbing walls covered with lycra, magnets, ropes, elastics, etc.). The vocabulary implemented is fun-filled in form. By reviving a certain lightness in the dramaturgy, as such redensified, the vocabulary hits on the most direct...
Source : Maison de la Danse - Programme de salle
Creator of “les Choses de Rien” project, circus performer and dancer.
Immersed from early childhood into the world of circus and roaming, Boris had his first professional experiences at the age of twelve. Cofounder of the compagnie Zampanos in 1996, he created four works that were performed in villages throughout France and in 14 African countries in 2003. Since then, he has chosen to live a travelling life. This had led him to meet and exchange with other companies and to perform with: the Médrano Circus, the compagnie Cahin Caha, the compagnie DCA (Philippe Decouflé), the compagnie Ezec le Floc'h, Clowns sans Frontières, Néry, les Ogres de Barback, the Cirque Electrique, the Pocheros Circus, the compagnie Christophe Haleb - la Zouze, the Cambrioleurs – Julie Bérès Company, Kitsou Dubois, etc.
At the beginning of 2004, Boris founded compagnie “les Choses de Rien” with whom he created “Le Phare”, which was awarded the Beaumarchais- SACD grant and the Jeunes Talents Cirque prize in 2004. He went on to create “Installation Tripode” and “Bull”.
Source : Maison de la Danse show program
More information : leschosesderien.com
Born in 1977, Fabien Plasson is a video director specialized in the field of performing arts (dance , music, etc).
During his studies at the Ecole Nationale des Beaux-Arts de Lyon (joined in 1995) Fabien discovered video art. He was trained by various video artists (Joel Bartoloméo Pascal Nottoli , Eric Duyckaerts , etc) .
He first experimented with the creation of installations and cinematic objects.
From 2001 to 2011, he was in charge of Ginger & Fred video Bar’s programming at La Maison de la Danse in Lyon. He discovered the choreographic field and the importance of this medium in the dissemination, mediation and pedagogical approach to dance alongside Charles Picq, who was a brilliant video director and the director of the video department at that time.
Today, Fabien Plasson is the video director at La Maison de la Danse and in charge of the video section of Numeridanse.tv, an online international video library, and continues his creative activities, making videos of concerts, performances and also creating video sets for live performances.
Sources: Maison de la Danse ; Fabien Plasson website
More information: fabione.fr
Artistic direction / Conception : Boris Gibé
Interpretation : Florent Blondeau, Anna Calsina Forrellad, Boris Gibé, Xavier Kim, Eric Lecomte
Stage direction : Camille Boitel
Set design : Boris Gibé
Lights : Annie Leuridan
Costumes : Florinda Donga
Settings : Antoine Villeret (conception du dispositif interactif) / Cyrille Henry (dispositif temps réel) / Nil Admirari, Les Choses de Rien (construction décor)
Technical direction : Bertrand Duval
Sound : Antoine Villeret / Fabrice Duhamel (régie)
Other collaborations : Olivier Arnaud, Camille Baudelaire, Cyrille Henry, Annie Leuridan, Emmanuelle Vié le Sage, Antoine Villeret (créations images) / Mathieu Delangle (régie plateau et construction machinerie) / Mathieu Delangle, Marinette Julien (régie plateau en alternance)
Production / Coproduction of the video work : Maison de la Danse de Lyon
Duration : 60'
The BNP Paribas Foundation
[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.
In the 1970s, artists’ drive towards a new classic had been ongoing for more than a half century and several generations had already formed since the Russian Ballets. As the years went by, everyone defended or defends classical dance as innovative, unique, connected to the other arts and the preoccupations of its time.
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