The dance Les Inconsolés takes place in the margins, on the edges, like a search for an imperceptible future or perhaps an attempt (or the temptation of) an impossible figuration. How to express a body on stage? And how to bring out, above and beyond flesh, all that the body conveys – what it has experienced, gone through and been overcome by? Exposed in fragments, in pieces, or gesticulating like marionnettes in a danse macabre, the three performers seek to summon up ‘inerasable instants that last for ever’. Playing on the movement between centre and periphery, shadow and light, face and mask, they hug each other, clash, exchange gestures, transmit states or grapple with excitement, desire, violence and loss. Something moves between them, something that persists – death, perhaps, or one of its figurations. At the frontier of statuary, of the tale, of the sadomasochistic ritual, of lovemaking, Les Inconsolés forms a choreographic poem that is close to ancient mystery: a dance on the verge of obliteration, where Eros and Thanatos become naked.
Alain Buffard starts dancing in 1978 with Alwin Nikolaïs at the Centre national de danse contemporaine in Angers. He dances in several productions from Brigitte Farges and Daniel Larrieu, as well as Régine Chopinot, Philippe Decouflé. He realizes a choreography for two plays with Marie-Christine Georghiu, accompanied by the Rita Mitsuko rock group, a first solo "Bleu nuit" in 1988, and Wagner's Master singers of Nuremberg staged by Claude Régy in 1989.
While carrying on his career of dancer, he works as an assistant in Anne de Villepoix 's Gallery for exhibitions on R. Zaugg, Fischli & Weiss, Chris Burden and V. Acconci. At the same time, he is a correspondent for two Norwegian daily papers, for which he covers visual arts events in France. He stops dancing between 1991 and 1996. In 1996 he makes two decisive meetings : one with Yvonne Rainer on the occasion of the updating of her play Continuous Project Altered Daily by the Albrecht KNUST Quatuor, and another one with Anna Haplrin, with whom he is working as the winner of the "Villa Medicis - hors les murs" prize.
In January 1998 he creates "Good boy", his second solo, and then makes in 1999 two trios INtime / EXtime and MORE et encore. "Tout va bien" is premiered in June 2010 at Festival Montpellier Danse and his last piece "Baron Samedi" is created in April 2012 at the Théâtre de Nîmes where he was an associated artist for both seasons 2010-2011 and 2011-2012.
He also realized "My lunch with Anna", a film with Anna Halprin in California with the help of the Ministry of Foreign Affairs in France and le Fresnoy national studio for contemporary arts, where he was associated artist during the season 2004-2005.
Source: Alain Buffard 's website
Artistic direction / Conception
Alain Buffard - Fabrication Alain Buffard, Matthieu Doze, Christophe Ives Assistés par Claire Servant et Christophe Wavelet - Reconstruction 2017 Matthieu Doze, Christophe Ives
Bryan Campbell, Mark Lorimer, Miguel Pereira
Artistic consultancy / Dramaturgy
Accompagnement artistique Fanny de Chaillé - Affineuse Enora Rivière
Masques Daniel Cendron
Accompagnement technique Christophe Poux - Lumières Paul Beaureilles, Thalie Lurault - Régie plateau et GIB Jérémie Sananes - Régie lumière Ludovic Rivière - Son Frédéric Marolleau
Production / Coproduction of the choreographic work
Production Isabelle Ellul Communication Jeanne Dantin Production Association PI:ES Alain Buffard. Avec le soutien de la Fondation d’entreprise Hermès dans le cadre de son programme New Settings. Coproduction CN D Centre national de la danse, Théâtre de Nîmes – scène conventionnée pour la danse contemporaine, Les Subsistances, Laboratoire international de création artistique – Lyon, Les Spectacles vivants – Centre Pompidou. Résidences CN D Centre national de la danse, Les Subsistances, Laboratoire international de création artistique – Lyon. Spectacle créé en janvier 2005 aux Subsistances à Lyon et reconstruit en 2017. Grand prix 2005 du Syndicat professionnel de la critique.