DanceInternationalTheater
Histoire de l’imposture
About Histoire de l’imposture
Everything is navigated under false pavilions, as Kafka said, and the "characters" in the performance are the first to testify to this…
By ironizing the artifice of social postures and the conformist norms that shape and lead us into borrowed personalities.
The performance also evokes the feeling of not being one with one’s intentions and desires, of not embodying one’s own self, to never find one's place in the world…
How to escape it ? Perhaps by letting oneself be possessed by the kind of savage energy which takes everything.
The choreographer Nicole Mossoux et Patrick Bonté
The materials that Nicole Mossoux and Patrick Bonté manipulate, diffract and meddle with, all have a worryingly strange quality about them. She is a dancer and choreographer, he is a director and playwright. The tandem has been creating universes that defy borders. The projects they lead alternately are nourished by the plastic arts and embrace the unexplored, the sensibility and the unconscious.
Press
"The luxury of a Broadway show of dreamy and poetic proportions… I will surely be the only one to risk such a comparison. This poisonous jewel portrays the nude beings of a terrestrial paradise, anonymous, beautiful and lost in the shadows of limbs, searching their way toward civilisation and its accoutrements, to sounds that stream from our collective musical memory like a myriad of small explosions. The sound of cities is heard from a distance as if coming to us from a garden next door. It is here alone that the form is the subject matter. Social dancing, the dance of side-kicks, men as centaurs, feminine dervishes, women who suddenly break into a can-can and in their rage dare to assume their real nature. From false seriousness to mechanical smiles, a cavalcade of attitudes is borrowed from a world of codes taken from courtly tradition and modern day television and unfolds in a progressive symphony of intentional trip-ups. The choreographic vocabulary of Nicole Mossoux and Patrick Bonté has matured since the much loved Simonetta Vespucci. Freed from all traces of anecdote, it is in perpetual movement, as if you were to see rather than hear Pachelbel’s Canon. The fluidity is remarkable, a continuous harmony of gestures that integrates grace and its opposite. A Botticellian performance, Tiepolesque, that beautifully and cleverly depicts imposture."
