Cie Greffe / Cindy Van Acker

Cie Greffe / Cindy Van Acker

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Kernel, 2007

Space, walls, ceiling and floor explode (mentally) to work in the illusion of the infinity and to elaborate each element from this imaginary point of view. The field of search of Kernel is a fragmented space, black and starry ad infinitum.

Partition the timeline by precise movements of the bodies in the space, moves of individuals and of mass.

And divide the composition between three performers. Each one carries out part of a movement which only becomes readable on the whole group. Throughout the show, the movements are exchanged, multiplied and navigate between the distribution on three bodies and the progressive organization of these three bodies into one.

Carry out and amplify the gravitation in the pelvis and work with its repercussions on the movements of the arms and the head. Whence: fragmentation of the verticality and constancy of the horizontality.

Everyone sharing the same space: sound designer, audience and trio. The same time space, the same light space, the same mental space? And the sound is everywhere, as a counterpoint to each break of the dance in time. The relation between movement and sound is situated in the aspiration, the attraction.

Cindy Van Acker

 

Kernel: female chorus
by caroline Coutau

'In 2005, Cindy Van Acker created Pneuma, a choreography for eight dancers: a rare quality of movement and a controle of the space that moved your body and head, a minimalism able to provoque giddiness. Pneuma, with its slow motion and its bodies rivetted on the ground was like the final touch to the three solos created since 2002.

Today, two years later, it is Kernel. And there are changes in the air. Of course, the sensuality of movement remains: this singular characteristic which makes that any movement of the choreographer and dancer touches this so-difficult dimension which is to apprehend space. And as in Pneuma, she succeeded in 'contaminating' to the other dancers who also 'caught' this quality. But. There is thus change. Because Cindy Van Acker and her two interpreters are standing upright. “ For many years, I tried to stand up. Lastly, I eventually succeeded.” She admits her fear of verticality is like an apprehension to tear space apart. Within the vertical, the three dancers move with all the softness, the smoothness and the precision in the world. Being three they form a triangle, each one at one top, according to an angle that the spectator-visitor decides. The distance between them is perfect. Strongly in relation with each others, they however remain autonomous. Free. They answer to each other while still continuously following their own part. Between these three, there is the best one can dream to be between human beings: complicity, respect, play, independence. Small glances, smiles, concentration, they copy each other, motivate each other, raise, sometimes slightly staggered, always in symbiosis. It is a female chorus.

Second innovation: the rhythm can be suspended, stopped, accelerated. The dance does not evolve anymore only in slow motion. Although, if the part is very precisely written, even meticulous, it is also played with something less regulated, more 'rounded' than in usual. Still, the astonishing intimacy emerging from the movement remains. Even when the beat swells, becomes noise, thunder. Because the score does not hesitate. We're in the industrialistic, a building site, a field of war, a torrential rains, an urban background. But also in silence or calm. Tarkovski is not far. The relation developped between the quiet determination of the three women and the sounds fiddler is, perhaps, universal, because contradictory, paradoxical and obstinate.

Here hands, wrists, scruffs and arms are rolled up. There, the bodies make drawings in space, giving a feeling of vastness when arms or legs launch perspective lines towards the infinite. Further, a strange organic six-members monster, half animal - half machine. And always this grace, this infinite grace.'

 

Credits

Choreography Cindy Van Acker
Performers Tamara Bacci, Perrine Valli, Cindy Van Acker
Sound design Mika Vainio / playing live on stage
Light Luc Gendroz, Philip May
Sound control Denis Rollet
Costumes Aline Courvoisier
Length 75'

Creation Théâtre du Grü, June 2007, Geneva
Production Cie Greffe
Coproduction Théâtre du Grü, Geneva
Rehearsal spaces DC studios at Le Grü, Geneva
With support from Département des Affaires Culturelles de la Ville de Genève (DAC), Département de l'Instruction publique de l'Etat de Genève (DIP), Pro Helvetia -Swiss Foundation for Culture, Loterie Romande, Fondation Sophie & Karl Binding and from Fondation Leenards
Administration and Tour Managing Tutu-Production, Véronique Maréchal, Simone Toendury

Photos copyright 2, 3, 4 Isabelle Meister

Photo copyright 1 Sandra Piretti