Collaboration with Ballet Preljocaj
Dance Performance for 12 dancers, 3D Animation, Pulse & Strobe Lights & Electronic Sound
Duration 73 minutes
A collaboration of Ballet Preljocaj and GRANULAR~SYNTHESIS
Concept and dramatization: Angelin Preljocaj, Kurt Hentschläger, UlfLangheinrich
- Choreography: Angelin Preljocaj
- Image, Light design: Kurt Hentschläger
- Music & Sounddesign: Ulf Langheinrich
Costumes: Angelin Preljocaj with Martine Hayer
Motion capture: DoDes’Kaden /Stephane Dalbera
Choreologist: Dany Lévêque
Rehearsal assistants: Nadine Comminges and Youri Van den Bosch
Dancers: Isabelle Arnaud, Hervé Chaussard, Sébastien Durand, Yan Giraldou, Natacha Grimaud, Anna Hagermark, Harald Krytinar, Céline Marié, Thomas Michaux, Lorena O'Neill, Toshiko Oiwa, Guillaume Siard
Théâtre National de Chaillot-Paris, Festival Montpellier Danse 2004, Festival Perspectives-Saarbrück/Moselle, Théâtre de l’Olivier-Istres , le Groupe partouche-casino municipal Aix/Thermal
Working Residence at Scène Nationale de Cavaillon
“N” is the title which has been
given to the work prepared with Ulf Langheinrich and Kurt Hentschläger. It is a “masked title” which
purposefully does not express what is evoked in the work, which deals with the
unspeakable, what is beyond description. Suffering, torment, humiliation,
torture … the body as the primary vector for annihilation and destruction.
If what we are trying
to say seems virtual and distant to a part of the world population, it is in
fact quite close and cogently, sharply real.
It has spread
throughout time from the very dawn of our existence to the present day, without
interruption, reaching incandescent peaks of trouble. Its force is matched
solely by our disbelief.
Concepts about the “humanimal” condition were defined during the early meetings of the collaboration. Most of the thoughts and concerns back then have in the meanwhile become amplified further. “N”, the finished artifact, has, during the process of creation, moved towards a state of pointed ambiguity, describing a state of being and an atmosphere, predominantly the problem of the absence of empathy, rather than creating a singular narrative.
« Syn-aesthetic is not sync-aesthetic »
Sound is designed as a sonic image, an unsettling current, an almost independent primal matter organised in various and at times countless single layers. Consistencies are recognizable. Melodies seem as if not yet invented. I envision a force, one slow motion wave and everything and all is drifting and drowning in it.
The show comprises high sonic levels composed by bass frequencies and stroboscopics effects inadvisable for young children, pregnant women, epileptics people or ones who have pace maker and hearing aids.