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29 Oct

19:00

29 Oct

19:00

30 Oct

19:00

30 Oct

19:00

Three machines, nine adult dancers and twelve children are on stage in Boris Charmatz's powerful and challenging performance. Here power relations are reversed and boundaries are blurred between the world of children and adults, between professionals and amateurs and between the living and the dead.

Against a dark background, the black-clad dancers carry around seemingly lifeless or sleeping children. The only sound is the monotonous roar of the machines. Are the adults' movements a way of protecting the children? Or is it a display of power? Charmatz explores a new type of choreography for immobile bodies where the adult dancers dance through the children by lifting, shaking and dragging them across the floor. It is a thought-provoking performance that questions the everyday exercise of power by adults over children.
But suddenly the children's passivity is broken, and an anarchic and wild movement, full of power and explosiveness, is unleashed.

"Two of the dancers told me the relationship with the children overpowered any single idea of what this piece is supposed to be about. "Everything you see on stage is a consequence of communication and trust between the dancers and the children," said Mathieu Burner. "We spent time with these kids and we spent time with these ideas and we developed them slowly and a bit blindly," added Eleonora Bauer." /Radio France International

About Boris Charmatz

The controversial and innovative choreographer and dancer Boris Charmats does not shy away from addressing difficult topics. In his works, he has often challenged the way dance is usually presented on stage. Director of the Centre chorégraphique national de Rennes et de Bretagne since 2009, he also works regularly as a dancer with Tino Sehgal and Anne Teresa De Keersmaeker. He was the guest of honour at the 2011 Festival d'Avignon, where child also premiered.

"He is a choreographer who makes us think hard about the logic of movement and about how it is presented." /The Guardian

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