Taos Bertrand
+ More infoVestiges
If there are vestiges, there are silent promises, revealed secrets and fires of which we are the heirs, both the receivers and the recipients. What gestures and what fires have we inherited?
Since her residency at Villa Kujoyama, Taos Bertrand has been assembling a body of improvisations filmed in Kyoto, Algiers, Paris and Marseille. Using photographic memory and editing, she observes the movements of the hands and the orientation of the faces, sequencing the undulating movements and the rhythm of the steps in order to memorise with precision the instinctive articulation of these breaths in the choreographic score. The name of these gestures is fervour and humiliation, dust and collapse, horizon line and gaze into the distance, the name of these gestures is love, guardian goddess, sea and desert, fragment, silence and word, care and healing, intimacy and cosmos, expenditure and gift, circle and revolution.
By sharing these traced gestures, this choreography aims, in the words of Donna Haraway, to “learn to remember and vibrate with ghosts”.
Credits
Concept, choreography, performance: Taos Bertrand
Sound creation: Florent Colautti
Sound editing: Taos Bertrand and Florent Colautti
Lighting design: Abigaïl Fowler
Artistic coordination: Soline de Warren
Musical and textual credits in order of appearance :
Texts and voices: Taos Bertrand, La fin des forêts / Kunichi Uno, Entretien / Taos Bertrand, Random field recording / Basho, La sente étroite du bout du monde
Music: Simeon Ten Holt, Tomoko Mukaiyama, Gerard Bouwhuis, Canto ostinato, section 1-30, Third wife / 1989, Robyn, Impact (feat Robyn & Channel Tres) / Koki Nakano / Taos Amrouche, Chant d’amour
Coproductions: Ménagerie de verre (Paris), TAP-Théâtre Auditorium de Poitiers, Ville de Poitiers
Partners: Festival Artdanthé (Vanves), Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette, Centquatre (Paris), Ballet national de Marseille direction (LA)Horde
This project was developed during Taos Bertrand’s residency at Villa Kujoyama with the support of the Bettencourt Schueller Foundation and the Institut français.
