While this performance shares three dancers with Crowd, Sophie  Demeyer, Katia Petrowick and Theo Livesey, it functions as a kind of  negative to it, characterised by the lack of crowd and vital need of one. All Gisèle Vienne’s work is political, through its artistic and  philosophical themes, formal research, and its questioning of culturally constructed perception and its possible shifts. It is a direct and  visceral response to an immediate and profound pain, that of bodies frustrated and constrained by politics and its systems of domination. Staging absent bodies, the performance reflects on the question of the sharing of emotions socially, as formulated by the professor and doctor in psychology Bernard Rimé, the need for the crowd and the dangers of isolation and desocialisation. Providing the opportunity to meet others and reoccupy public space or alternative venues such as the Station in Paris, an essential and creative space, is one of the promises of this performance.

(source: programme of the CN D)

For around ten years, Gisèle Vienne has been weaving stylistic links between puppetry art, choreographic performance, visual arts, scandalous literature (Jean Genet, Catherine Robbe-Grillet, Denis Cooper, etc.) and the underground music scene (Tujiko Noriko, Pita, SunnO, Boris, Corrupted, etc.).

Following her philosophy studies and an apprenticeship as a contemporary puppeteer at the École supérieure nationale des arts de la marionnette in Gent (Belgian Higher School of Puppetry Arts), Gisèle Vienne began making life-size puppets which she (dis) articulates. She brings dance and puppetry together to invite the spectator to understand the aspects of humankind in an atmosphere of beauty which focuses on order, disorder and scenic experimentation.

To complement her performances, the artist now proposes extensions of her scenic work in the form of photos (Black Noise exhibition, paying tribute to Steven Parrino) and installations (during a collective exhibition, in the suite of a Tokyo hotel).

Since Showroomdummies in 2001, in partnership with Etienne Bideau-Rey, her puppets form the axis around which a handful of actors-performers, invested in their whole slow, majestic body dynamics gravitate, against a backdrop of Black Metal lyrics.

Source : programme CCN - Ballet de Lorraine 2012 - 2013

More information : http://www.g-v.fr/fr/

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.).