SKINS

 

Contemporary Dance

DE ZOÉ DE SOUSA

Piece for 7 dancers

PRODUCTION 

THEATRE HOMME DE TERRE

COPRODUCTION 

CNSMDP 

LA MAISON DU BERGER

IN PROGRESS

RESIDENCES 2020 2021 

CNSMDP 

CURRENT BROADCAST 2020 2021

CHOREOGRAPHY DIRECTION: ZOÉ DE SOUSA

DESIGN AND SOUND REALIZATION: PHILIPPE DE SOUSA

MICHEL LERAY CAPTATION

DANCERS: NOéMIE LANGEVIN MADELINE TUAL MORGANE BONIS Marie AlbertLucie DomenachEstaban Appesseche Loïc Aymé

BIOGRAPHIE DE ZOÉ DE SOUSA

VIDÉO PEAUX DE MICHEL LERAY

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

INTENTIONS DE PEAUX

 

 

 

 

 

 

 

 

 

 

 

 

The piece depicts an ecosystem where bodies have been around for thousands of years. They are decomposing but they exist like

 

sentinel rocks by the sea. It's a still landscape where every cell counts. Juxtaposed to this is another vital space: that of the intimacy of

 

the body.

 

SKINS - Third Hymn is an obsessive experience under the microscope.

 

It is an illumination of our epidermis, our flesh, our foundations.

 

Bodies are lifted by light, this medium that structures, reveals, conceals and composes.

 

It is an analysis of the material and spiritual envelope of our conditions.

 

We have the sensation of an urgency in immobility, of a vital impulse cut with shears. It is the expression of the devouring energy of our

 

intimacy, lived in a distorted temporality.

 

SKINS is a collection of mirages, moments that are born to vanish immediately. The apparitions include several dimensions:

 

scenographic apparitions through the installation of body landscapes

 

Fleshly apparitions by the revelation of the skin

 

Rise and fall of the flesh...

 

The garment is used both as a growth, a second skin, but also as a tool to play graphically with the naked white body and the black of

 

darkness.

 

Peaux - Troisième Hymne est le fruit d’une poursuite du projet PEAUX, qui réunit plusieurs ébauches fondatrices

 

SKINS - Third Hymn is the fruit of a continuation of the SKIN project, which brings together several founding sketches

 

SKINS - SECOND HYMN

 

SKINS - BETWEEN TWO HYMNS

 

INTENTIONS OF ZOÉ DE SOUSA CHOREOGRAPHER

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

It is by approaching the practice of the living model that the experience of exposing oneself crosses history: whether it is a political and

 

militant tool or an aesthetic and symbolic subject. The naked figure remains a constant. 

 

Today, the body submits to a plurality of forms: it is instrumentalized, rationalized, capitalized, virtualized, idealized, politicized. So I feel

 

the need to reconnect with my body and to question it in its intimacy.

 

The naked body is a state of nature and also an intimate body in itself. As a performer, exposing one's own intimacy remains a challenge.

 

What do we hide and what do we reveal on stage? This major question in interpretation takes on its full meaning in the introspective

 

stripping of the leaves. This search for creation is a literal and symbolic exposing of the performers. In order to do so, the performer

 

must connect with the intimacy of his or her body and meditate on it.

 

What interests me is to get as close as possible to the treatment of skin and flesh.

 

It was with NEONS by Philippe Saire, and then with Séverine Chavrier's direction that I came up with the essential idea for the play: light

 

and rhythm reveal the texture and singularity of skins. With cuts, I cut through body situations as an editor would do with a film strip.

 

The piece consists of overlapping mirages. They are several stories that repeat and intertwine with each other to speak of the same

 

thing: the revelation of the intimate and sensitive course.

 

 

 

FRAMES OF SKIN: LIGHT SYSTEM AND SOUND CREATION

RHYTHMIC FRAMES

 

 

 

In the plot of the piece, several situations appear. The order in which they occur is based on a logic where the possible narratives

 

overlap. Some are repeated, others continue... It is a work focused on the detail of the bodies, the architecture, the environment and its

 

reliefs. Through discontinuous rhythm, rupture or disappearance, no situation has an end and could possibly repeat itself ad infinitum.

 

The danced gesture is continually being born and dying at the same time. All this allows for a new narrative perception. 

 

THE PARTITION is based on three types of situations which are the pillars of the score: 

 

INERT SITUATION

 

STATE SEQUENTIALITY

 

COVER DISCOVERS

 

To the pillars of the score are grafted other so-called stable situations such as belly dancing and long bones.

 

There are also variations of the main situations, exceptions, or extensions such as :

ASPHYXIATED POSE * UNCOVERING * NOEMIA LYING DOWN * AWAKENING OF LUCIA * JOSTLING * INTERMINGLED SITUATION *

 

SITUATION ORIGIN * INERT 1BIS *

 

LONG BONE SPILL*******************************************************************************************************************************

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LIGHT

 

In this piece, light is as important as dance. The writing of one does not exist without the other. The general rhythm is given by the

 

programming of the light, and for practical purposes we use the same light ambiance for the whole piece: it is cold, and reveals a

 

contrast of naked skin against the darkness. We avoid traditional spotlights so that there is no inertia during each cut.

SOUND CREATION PHILIPPE DE SOUSA

COMPOSER-PERFORMER

http://philippedesousa.com

The texture of the sound results from the combination of a Portuguese guitar, a double bass and a voice. These three instruments

 

perform the same pattern. Only the tone changes. The superimposition of the tones or their offset gives sensations of envelopment or

 

irregularity. The sound expands without ever ending.

 

Moreover, the repetition of the motif is ambivalent. It can suggest for example an alarm siren or Tibetan monks' monasteries. We can

 

perceive both urgency and tranquility at the same time.

 

PHILIPPE DE SOUSA 

 

His first instrument is the classical guitar, which he learns first as a self-taught, then alongside JUAN CEDRÓN. He learns the double

 

bass and other stringed instruments (Cavaqhinho, rajāo, fretless guitar...) before revealing himself in the Portuguese guitar. In Lisbon,

 

he becomes the pupil of the guitarist CARLOS GONÇALVES, who was for several years the accompanist of the famous singer AMÁLIA

 

RODRIGUES.

 

During his studies of musicology at the University of Paris 8, he gets introduced to the traditional Fado scene in Paris, which gives him

 

the opportunity to accompany the "nonsense" that occurs in France.

 

While keeping his Fado guitarist activity, he shares new experiences with musicians from different horizons.

 

( Bévinda-Portugal, cuarteto Cedron-Argentina, Lulendo_Anglo, Alima-Algérie, Dan In-ger-Blues, Dani Selva-Brazil, etc...)

CNSMDP SKINS VIDEO EXTRACT

BASED ON THE INTIMATE RELATIONSHIP TO THE BODY, THIS SHOW IS THE EXPRESSION OF AN INFRA-THIN ENVIRONMENT THAT CONCERNS US ALL: A VITAL SPACE, WHICH TRANSFORMS AND QUESTIONS US.

SKINS - THIRD HYMN IS AN EXPERIENCE UNDER THE MICROSCOPE

"WHAT I'M INTERESTED IN, IS TO GET CLOSER TO THE TREATMENT OF THE SKIN AND THE HEART."  SOUSA ZOE

MIRAGES, BODY LANDSCAPES, SURGES AND FULGURATIONS OF FLESH, CLOTHING AS AN OUTGROWTH...

 

A HYMNE

 

SKINS, OUR SKINS, SKINS IN AN ECOSYSTEM THAT HAS BEEN PRESENT FOR THOUSANDS OF YEARS.

 

SKINS BREAK THE TRANQUILITY OF THE MOMENT TO GIVE BIRTH TO THE POWER OF SKINS, OUR SKINS, SKINS TO

 

THE REDISCOVERING THE INTIMATE.

© 2020 by ASSOCIATION THÉÂTRE HOMMES DE TERRE_ THT_SIRET 43947596300054 APE 9001Z LICENCE N°2_106.07.17