WEG (2019) engages eight dancers and a pianist into a transformative experience that opens up the field of multiple possible identities. A deliberately plural, extravagant, prolific and tumultuous choreographic experiment.
With her accomplice Lea Petra, Ayelen Parolin guides eight paths of individuation through a kaleidoscopic polyphony, relying on multiple repertoires of movements, extravagant, grotesque, complex and uncomplicated registers, revealing the cracks – but also the resources – of human beings. Those individual paths appear as disordered and non-linear evolutions, in a process of self organization inspired by Pierre C. Dauby’s latest research on dynamical systems.
“While reading Sapiens by Yuval Noah Harari, I began to fantasize about the idea of creating a piece nourished by intimate universes and revelations of the self. With WEG, I wanted to work on the exuberant fantasies that inhabit this paradoxical, inconsequential, unstable and fragile sapiens.
If life has no meaning, let’s take advantage of it to do ourselves good and take pleasure! Not a pornographic pleasure, focused outwards, but an internal, personal, minimal pleasure, almost like a vibration of essential energy. By focusing, with the performers, on this way of working – having fun – we tried to build a dance for oneself, which can be free, singular, authentic, unique and universal.
By creating a channel for the circulation of images, rhythms and qualities, we tried to create the ideal conditions for energy and movement to flow freely in a game of variable and unstable associations.
I relied on an internal rhythm, a simple yet essential drive. A rhythm like a heartbeat that travels and transforms itself. Rhythms that are recorded somewhere in our personal and collective unconscious, like an imperious force that fulfills us and sometimes ridicules us.
I have worked on the sensation of a space that is continually building itself as other, continually elsewhere, in a non-linear way, with unstable and chaotic variations, alterations and fluctuations. A constant game of mutations and relationships in space, time and materiality, as well as in a relationship to oneself and to others.
Relying on ruptures, disruptive fragmentations, I envisioned a tumult touching on the natural and the social.
If it is a matter of destructuring the constructed and deregulating normativity, it is so with the desire to let the tangible and the poetic emerge in their unpredictability, their fragility and even their ephemerality.”
Choreography Ayelen Parolin
Musical creation & piano Lea Petra
Performers Daniel Barkan, Baptiste Cazaux, Jeanne Colin, Piet Defrancq, Daan Jaartsveld, Kinga Jaczewska, Dan Mussett & Bianca Zueneli
Assistant choreographer Julie Bougard
Dramaturgy Olivier Hespel
Light design Laurence Halloy
Stage management Gaspar Schelck
Costumes Wim Muyllaert
Production Gabriel Nahoum
Administration & production Manon Di Romano
Thanks to Pierre C. Dauby, Sofie Durenes, Catherine Massin
Production RUDA asbl and DC&J Création
Distribution Key Performance (Stockholm, SE)
Co-production: Charleroi danse (Charleroi, BE), Théâtre de Liège (Liège, BE), Tanz Im August / HAU Hebbel am Ufer (Berlin, DE), Atelier de Paris / CDCN (Paris, FR), Theater Freiburg (Freiburg, DE)
Studios provided by Charleroi danse / La Raffinerie & Les Écuries (Charleroi, BE), Studio Thor (Brussels, BE), Pianofabriek (Saint-Gilles, BE)
With the support of the Wallonia-Brussels Federation, Wallonie-Bruxelles International, Wallonie Bruxelles Théâtre/Danse, the Tax Shelter of the Federal Government of Belgium, Inver Tax Shelter and the National Lottery.