Photo: Pierre Gondard
The French choreographer Olivier Dubois in the play “To go out in the day”
Since its 17 years, the French choreographer Olivier Dubois is madly in love with the egyptian capital, to the point of living today between Paris and Cairo, where he gives us this virtual discussion interrupted by the noise of the megalopolis of 20 million inhabitants, and a connection brinquebalante.
“It happened little by little, the rhythm of the Nile, by learning the language, doing a lot of things. For me, it is a place of retreat in a chaos incredible. Everything is stretched in the extreme, it gives brilliant at all levels. I am someone who is very lonely. Here, the world is such that it is complete anonymity. “
If the choreographer says that his relationship with this city has not intrinsically changed its relation to the body, to movement and to the creation, it remains that this solo was created following an invitation to participate in a new festival of contemporary dance in Cairo.
And that this last has been strongly nourished by the reading of the Book of the dead of ancient Egypt, also appointed To get out of the day, as that is precisely what had become the of his solo.
Olivier Dubois sign with this piece is his third solo, a format in which he is confronted in a cyclic manner, while the group pieces he’s so fond of for their power of artistic and human are more recurring in its course. What, then, impels him to return to the figure of the solo ? “The three solos are reached in ways quite unexpected. I never said : “look, I’m going to do a solo !” The solos are often instinctual answers. It comes as a no-brainer. I am still a performer. There is a need for an interpreter, another heart that needs to beat. “
The body’s memories
For him, the solos are great laboratories. “This is not at all the same approach to choreography, he says. In addition, I can’t be on the shelf, and be a choreographer, it is unimaginable, impossible, I don’t know how the others can do it, I am unable to. The solo, it is both the observation of a time and the laboratory research for future projects. “
If there is a thread that runs through his different solos yet, it is the question of the dancer, the performer and his place in this profession, which is, according to him, the most beautiful. “I have a mad love for the performer, he says. It is for this that I love so much to work with them. It is a fascinating place. “
The solo, it is both the observation of a time and the laboratory research for upcoming projects
— Olivier Dubois
This fascinating place is also the one of the layers of memory of the body, the appearance and the disappearance of the works, the multiplication of skins, characters, identities. In sum, a reincarnation constant.
It is precisely here that resonated the Book of the dead of ancient Egypt to feed his To get out of the day. This book brings together the scriptures listed on the inside of sarcophagi that will tell the journey of the souls they house.
The sarcophagi were filled with ointments, foods, and stones for the mummy gives off a very strong smell, so the soul can go out in the day and return to the body before the night, its non-return, causing the loss of the man and, therefore, his death. It is in dialogue with the gods that the soul is confessed of all that she went through as the identities, roles, personifications.
A court, an indiscretion
Nothing of this book, strictly speaking, is only heard on stage, and, yet, for the first time, Olivier Dubois will take as a result the word. “Yes, it is new ! I arrive, I have the champagne, I have a cig… this is an invitation to be at home, in my living room, to spend the evening together, to get to know us. You are going to ask me questions, I’m going to ask you questions. And all of that, it is live, it changes every night. Then I’d need to announce upfront what they would do and in what setting : a game, may be a court, an indiscretion, a dissection… “
The book of the dead, we, therefore, find watermark in the structure of the solo, in his report, in particular to the confession. On the other hand, the question of randomness is not a component of the book or a habit in the methods compositions and choreography Olivier Dubois. To go out in the day is based on the questions the viewer will ask the dancer, and vice-versa. A simple, at first glance, but that implies that the interpreter had a great command of the stage, and a very fine grade of listening to the public so that the meeting occurs and brings the world somewhere.
The content of the questions, he will be without limits. “The public, I don’t push to its limit, let’s say that I leads him to make decisions. In reality, people are very wacky. I am always amazed of where it’s going. It can quickly become a game of the circus, this thing of the idol that you want to touch it until the break… Sometimes, I don’t want to go there, then I have to negotiate. It is the game. It should not be forgotten that the form of the solo, it’s a case of damn risky. “
Who is ready to play with the French-born choreographer will have to quickly book his place, because it will be a small space and intimate to the limited number of spectators !
To go out in the day
Creation and interpretation : Olivier Dubois. At the Agora de la danse, from 12 to 14 February, 19 h, and on the 15th of February, 16 h.