Présentation

Thierry Smits staged his second production, initially presented at the Montpellier Festival in 1991, against the backdrop of public demonstrations and activists’ demands linked to then prevailing AIDS pandemic.

 

He is now the choreographer and no longer the dancer; this was to launch a lifelong career entirely devoted to creating works executed by artists selected during auditions. As with his debut work  La grâce du tombeur, an internal contradiction enriches the piece’s title with an unsettling allure, this time polemical in nature, for it evokes the relationship between Eros and Thanatos, the mythological Greek gods who incorporate the vital sexual drive and the desire for death ,respectively. The performance presented the hesitating waltz in two parts, particularly suggestive in the context of the ravages associated with AIDS, between the need for sex and the imminence of death, according to a camp and kitsch aesthetic that lays bare the horror of emptiness and proposes multiple orientalising accents. The scenography favours circularity and also forces the audience to encircle the performing space delineated by carpets on which the dancers perform.

After an opening solo suggesting the idea of chaos, the initial sequences, dedicated to Eros––set against a soundtrack evoking Ravel’s Bolero––offer visions associated with bacchanals and orgies with allusions to the ultimate sacrifice. Death then proclaims itself by following the seven stages of grief based upon the Elisabeth Kubler-Ross’ model: shock, denial, revolt, depression, bargaining, acceptance and decathexis. The belly dance appears as a leitmotif whose sensuality constantly runs through the performance, which culminates with a kind of “rebirth” of Eros. Originally conceived for four dancers, the piece was ultimately reworked for a trio.

DATE CONTENU

Dates

Thierry Smits staged his second production, initially presented at the Montpellier Festival in 1991, against the backdrop of public demonstrations and activists’ demands linked to then prevailing AIDS pandemic.

 

DATE CONTENU
1991/06/28 28 > 29.06.1991 Montpellier Danse Montpellier (FR)
1991/07/01 01.07.1991 Théatre le Manège / Festival les Inattendus Maubeuge (FR)
1991/09/26 26.09 > 05.10.1991 Cosmo Kino Brussels
1991/10/18 18 > 21.10.1991 Centre Georges Pompidou Paris (FR)
1992/01/10 10 > 11.01.1992 Lantaren/Venster Rotterdam (NL)
1992/03/06 06.03.1992 De Beweeging Anvers
1992/03/21 21.03.1992 CC Hasselt Hasselt
1992/04/03 03.04.1992 Stadschouwburg Kortrijk Courtrai
1992/04/04 04.04.1992 De Werf Alost
1992/04/08 08.04.1992 Vooruit Gand
1992/04/10 10.04.1992 De Warande Turnhout
1992/03/14 14.03.1992 De Dijk Bruges

Distribution

— Chorégraphie

Thierry Smits

— Scénographie, dramaturgie, mise en scène

Antoine Pickels

— D'après un argument de

Johan Heestermans

— Danseurs

Francisca Rijken, Lucius Romeo-Fromm, Terence Troy Steiner, Michael Sears

— Musique

Nikolas Klau, Drem Bruinsma autour su bolero de Maurice Ravel

 

— Enregistré à

l'Echo des Montagnes

— Création lumières

Nina Shaw

— Costumes

Nadine Lannaux

— Professeurs de danse du ventre

Latifa Jarmin et Nadia al Boukhari

— Musiciens

Quentin Smolderen, Ulf Maria Kühne, Paul Zahl, Luc van Lieshout, Manuela Ammoun, Steven Brown, Pierre Six

 

— Production

Compagnie Thor

— Coproduction

Montpellier Danse 91, Théâtre Contemporain de la Danse (Paris)

— Avec le soutien de

Ministère de la Culture et des Affaires Sociales - Service de la Musique et de la Danse; Commissariat Général aux Relations Internationales de la Communauté française de Belgique

— Avec l'aide de

SACD and Centre Georges Pompidou

 

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