As he swam, he pursued a sort of revery in which he confused himself with the sea. The intoxication of leaving himself, of slipping into the void, of disersing himself in the thought of water, made him forget every discomfort.
Maurice Blanchot, Thomas l’obscur, 1941, Paris, Gallimard
Glottis takes place within a glottis or in the depths of a grotto, in ancestral times, during prehistory, or in future times, after the story. Three characters – blind visionaries, shamans under hypnosis, or down-to earth somnambulists indulge in mysterious practices. In a form of danced concert disturbingly resembling a fantastic prophecy, they are having a discussion with a range of invisible forces. As an oneiric immersion into the meanders of the magic and of the unconscious, Glottis celebrates the dark forces.
The trio Glottis is a continuation of my research from previous works – it is an investigation of the voice within the frame of choreography. This time, I’m exploring, the supernatural dimensions of the voice. How does it communicate inside the body with our unconscious and our imagination? How does it connect to invisible and fantastic beings?
concept: Flora Détraz
with the performers: Mathilde Bonicel, Yaw Tembé and
set design: Camille Lacroix
light design: Arthur Gueydan
sound design: Guillaume Vesin
co-productions: Alkantara Festival (PT), Le Gymnase-CDCN Roubaix (FR),
Scène Nationale Alençon (FR), Le Phare-CCN du Havre (FR), Pact-Zollverein (DE) (tbc)
Residencies: O espaço do tempo, Teatro Rivoli-Porto
financial supports: Région Normandie (tbc)