Using a deliberately limited, sparing choreographic vocabulary, Ayelen Parolin launches three performers into an astonishing game of rhythm and construction, at once repetitive and constantly on the move, forever redistributed, restructured, re-envisioned.
A game in which the unfinished and a return to the beginning would comprise the ground rules. An amazing maze. A game of music…with no music.
That’s because in SIMPLE (2021), the choreographer has deprived herself of one of her main stage partners. And since there is no music, it is up to the bodies she brings on stage to invent it, to imagine it, and to play it. In search of a vital pulse. A trio steeped in complicity, in connivance. With the power and deeply human sincerity of the foolish, the naive, or the childlike – where everything is (still) possible, from the absurd to the dreamlike.
STATEMENT OF INTENT
“If it is my wish today to move towards a form of simplicity, I do not do so to tend towards a simplification, rather to seek to act without pretense, without calculation, to get rid of the notion of seriousness, to touch upon something that resembles childhood, an absolute naivety…
How can simplicity be questioned using movement as a driving force? By trying to understand the choreographic act as child’s play? By working from questions such as naivety, instinct, ludicrousness? And how, from these elements, can we open up a space that fires the imagination and generates the unexpected?
These questions and more underpin this trio, profoundly anchored in the continuity of WEG (2019). Not just because the three performers (Baptiste Cazaux, Piet Defrancq, Daan Jaartsveld) are each a part of this group piece, but above all because its process will be led by an identical search based on the notions of pleasure and freedom at work, and by the same search in terms of authenticity, and individual singularities.
A new approach that I would like to examine in more depth here, by fully accepting the collusion and communication between the performers, and by prioritizing a certain relationship to performance and to the absurd, as impulses for writing a dance that is at once full of friction, inappropriate interbreeding, incessant hacking, and a benign, detached lightness.”
A project by Ayelen Parolin
Created end performed by Baptiste Cazaux, Piet Defrancq & Daan Jaartsveld
Assistant choregrapher Julie Bougard
Lighting creation Laurence Halloy
Staging & costumes Marie Szersnovicz
Dramaturgy Olivier Hespel
External consultant Alessandro Bernardeschi
Visuals Cécile Barraud de Lagerie
Costumes Atelier du Théâtre de Liège Production RUDA asbl
Distribution Key Performance (Stockholm, SE)
Co-production: Charleroi danse (Charleroi, BE), Le Centquatre-Paris (Paris, FR), Théâtre de Liège (Liège, BE) CCN de Tours (Tours, FR), MA Scène nationale – Pays de Montbéliard (Montbéliard, FR), Les Brigittines (Brussels, BE), DC&J Création (Liège, BE)
Support & Studio Hosting: CCN de Tours (Tours, FR)
Residency support: Charleroi danse (Charleroi, BE), Les Brigittines (Brussels, BE), Le Gymnase – CDCN Roubaix/Hauts-de-France (Roubaix, FR), Le Centquatre-Paris (Paris, FR), MA scène nationale – Pays de Montbéliard (Montbéliard, FR)
With the support of the Fédération Wallonie-Bruxelles, of Wallonie-Bruxelles International,
of the Tax Shelter of the Federal Government of Belgium and the Inver Tax Shelter.
Ayelen Parolin is hosted by means of a mentorship at the Théâtre de Liège (2018-2022) and
receives administrative hosting at Charleroi danse/La Raffinerie.
Ayelen Parolin is an associate artist at the Théâtre National de Bruxelles from 2022.
Picture: ©François Declercq