Pauline  Le Boulba translates into a choreo- graphic form her own experience as a  specta- tor, which she defines as being an “affected criticism”.  Bringing together the discursive and the performative, her pieces cross  over and reveal the different strata of life (psychol- ogy, history,  politics, aesthetics...) which par- ticipate in the exercise of  interpretation. Her new creation opens up a dialogue with Kazuo Ono’s Admiring La Argentina in  which the pioneering master of butô goes back over a twofold memory.  The first refers to the discov- ery on stage, during his youth, of the  flamenco icon Antonia Mercé; the second to his subse- quent encounter  with Nakanishi’s canvases, which reminded him of the dancer’s energy. 

In  this respect, the piece aims at reviving memories of these real or  symbolic ghosts, forming a bond with them that is similar to and as  sensitive as that proposed by a medium. Using different props on the  stage, Pauline 

Le Boulba maps out emotions and shares the way in which the dead can make us happy.
Source: program of the CND

An  artist and researcher, Pauline Le Boulba has written performances and  texts (essays, rap, poems) which draw on her experiences as a spectator  of work shown in particular at the Laboratoires d’Aubervilliers or the  Théâtre de la Cité Internationale. From  2015 to 2017, she created a series of solos entitled La Langue brisée.  Her work is nourished by her various artistic collaborations with  Sorour Darabi (Savušun), Anne-Lise Le Gac (La caresse du coma) and Pol  Pi (Ecce (H)omo, as well as interventions with students (Département  Danse of Paris 8 and Formation Exerce at the CCN of Montpellier).

Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).