Naïf Production

La chair a ses raisons [Flesh has its reasons]

A solo 

Creation 2018

35 to 40 minutes

followed by a 30 minutes Q&A

Maximum audience 100

Suitable to all audiences

Outreach activities

 

 

Mathieu Desseigne-Ravel looks back on 25 years of acrobatic, dance and “wriggled” practices, spent in challenging the gravity of things.

La chair a ses raisons is a study of the flesh and its ability to communicate through traces and promises, a little of this manifest and fleeting in-common that connects us all. This proposal is the search for something small, that could be the possibility of the whole.

The attempt of the disappearance of the “I”, momentarily, so that in its absence, in the space of the metamorphoses, between beauty and monstrosity, recognition and repulsion, emerges the possibility of a common desire. That one, murmured, of the community.

Naïf Production proposes a small trip in two stages around this proposal. Two moments where to feel the intense activity of the contemplation, two stops to discover the difference of the identical one.

To begin again, to remember a little better that a live show is a co-realization of artists and audience together. The question of the point of view is particularly at work here. To find a little space together in order to make the proposal on stage not “to give” but “to exchange”, to live and to complete …

Choreography and performance Mathieu Desseigne-Ravel | Artistic advice Sara Vanderieck & Lucien Reynès | Light design Pauline Guyonnet | Sound scape Philippe Perrin
Co-production CDCN – Les Hivernales à Avignon, Théâtre Jean Vilar de Vitry-sur-Seine, KLAP – Maison pour la danse de Marseille.
With the support of Agora – cité internationale de la danse de Montpellier.
Naïf Production is associate artist at CDCN-Les Hivernales/Avignon and is supported by DRAC PACA.

The work on the topic of flesh is a personal issue. It is the experience of disappearance. And my history as a craftsman of the stage – a description I prefer rather than “artist” – is somehow linked to a journey of disappearance.

Here we have a brief disappearance of the human, of the me, of the originator, of the performer. This disappearance creates space, a space which was a priori inclusive. The matter evolves and creates a distance with the artistic velleities. It is not about cleverness to express such things. What builds the relation between the spectator and the mentioned material is situated somewhere between attraction and revulsion, it questions the cultural norm of beauty. (…)

If, after the performance, the spectators wonders about what they have just perceived, I am pleased. While developing performing arts, we are constructing a hypothesis: the improved experience might overlay the global experience. And generally, I believe that doubting more about what we see would be a good thing for all of us. Performing arts shall not produce consent or contentment. It shall be a space where a different way can be expressed.

Mathieu Desseigne-Ravel in an interview with Thomas Hahn

Danser Canal Historique, March 2018

Photos © Laurent Onde (couleur) et Mirabel White (noir & blanc),