Bringing into presence three generations of women (Laurence Louppe, Claudia Triozzi, Anne Laurent) and a man (Alain Buffard) reiterates the experience of the stranger as a modifying test of one- self, an experiment which faces disorders, the unnamed and the unknown. Mixtures are to be disentangled: subject matters that produce other forms. We will speak perhaps less of a difference of the sexes than about the gaps or the potentials between them.

A learning supposes a model or at least a reference. This condition imposes a framework of control, of conformity and efficiency. It is then for the subject to find its marks, sometimes holding on to the margin, and sometimes also, playing with its shifts vis-à-vis to the constraints. These are the frameworks that Dispositifs 3.1 seeks to disturb, or to return to a disorder. To learn supposes time but also a space: that is the level to which the subject must yield. Can one unveil the bodies and scramble their geography? We deal, starting from the first sequence, with four figures, four figures put into uniformity by a costume and a wig. The paradox of this uniformity is to make even more sensitive the singular spaces of these bodies. Their course crosses the fundamental learnings (movements, language, food). The methods of the incorporation of the gestures and the language are bound, in a word, with(in) the discipline, but they can also be diverted, interpreted or played. This is the game that we wanted to explore; not so much to check that the lesson is well learned, but rather to take into account the multiple inventions that our singularities force us to find.

The result from this should be a great instability of the order of things: dissolution of the limits, the bringing in tension of the bodies and materials. As many questions which agitate the same subject, the characteristic, the self and the non-self, the relation of the otherness towards the other and towards the group should come out.

Alain Buffard [June 2000]

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

1960-2013.
 

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