circular duet, 2027<\/p>
by Floriane De Gracia <\/strong>with\\u00a0Zo\\u00eb De Sousa<\/strong> and Matthieu Fuentes<\/strong><\/p>\",\"align\":\"top\",\"row\":2,\"col\":3,\"colspan\":9,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":3,\"relid\":37,\"absolute_position\":false},{\"absolute_position\":false,\"align\":\"top\",\"col\":4,\"colspan\":7,\"cont\":\" They circle each other. Eye to eye, without respite. Their steps resound in unison, charge the space, disturb the silences. Bodies draw close, pull away, stop, strive to hold together. Time opens. The air is full.\\u2028<\/p> The Other Is the Sun<\/em> is a forty-minute performance in which, bound by their gaze, two presences find themselves entirely exposed to one 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choreography by<\/em>\\u00a0Floriane De Gracia<\/p> in collaboration with <\/span><\/em>Zo\\u00eb de Sousa<\/p> sound design by<\/em>\\u00a0Matthieu Fuentes<\/span><\/p> \\u00a0<\/p> thanks to<\/i><\/p> Lotus Edd\\u00e9-Khouri (for dramaturgical advice)<\/p> Alexis Braun (for the gaze, whether filmed or not)<\/p> Liza Weinland (for the costumes)<\/p> Christophe Mac\\u00e9 (for sensitive feedback)<\/p> \\u00a0<\/p> duration\\u00a0 40 minutes<\/p>\",\"offsetx\":0,\"offsety\":0,\"push\":3,\"relid\":1,\"row\":7,\"spaceabove\":0,\"spacebelow\":0,\"type\":\"text\",\"yvel\":1,\"frameOverflow\":\"\"},{\"absolute_position\":false,\"align\":\"top\",\"col\":8,\"colspan\":4,\"cont\":\" production ULU<\/p> \\u00a0<\/p> with the support of<\/p> Th\\u00e9\\u00e2tre Jean-Fran\\u00e7ois Voguet (Fontenay-sous-Bois, 94), Anis Gras (Arcueil, 94), Le Silo (M\\u00e9r\\u00e9ville, 91), Les Bords de Seine (Juvisy-sur-Orge, 91), Le Dansarium (Ste Genevi\\u00e8ve-des-bois, 91), Lisi\\u00e8re en Vercors<\/p> \\u00a0<\/p> thanks also to the Hangar de Penguel (Finist\\u00e8re) and the Mallouestan (Calvados) for their welcoming.<\/p> \\u00a0<\/p> This work is the result of research carried out in 2024\\u20132025<\/em><\/p>\",\"frameOverflow\":\"\",\"offsetx\":0,\"offsety\":0,\"push\":0,\"relid\":20,\"row\":7,\"spaceabove\":0,\"spacebelow\":0,\"type\":\"text\",\"yvel\":1},{\"absolute_position\":false,\"align\":\"top\",\"col\":3,\"colspan\":7,\"config\":{\"accordionConfig\":{\"showBorders\":false,\"borderColor\":\"#dee2e6\",\"borderWidth\":1,\"showFirstLastBorders\":false,\"showBorderUnderOpenedTitle\":true,\"animationDuration\":0,\"closeOthers\":true,\"collapseOnContentClick\":false,\"iconType\":\"plus-minus\",\"iconTextClosed\":\"Read more\",\"iconTextOpen\":\"Read less\",\"iconTextformat\":\"Default\",\"iconPosition\":\"left\",\"titlePaddingTop\":15,\"titlePaddingRight\":5,\"titlePaddingBottom\":5,\"titlePaddingLeft\":0,\"contentPaddingTop\":10,\"contentPaddingRight\":0,\"contentPaddingBottom\":10,\"contentPaddingLeft\":35,\"iconSpacing\":10,\"iconYOffset\":0,\"iconSize\":25,\"iconStrokeWidth\":1,\"useIconColor\":true,\"iconColor\":\"#bbbbbb\",\"maxWidth\":90,\"useBackgroundColor\":false,\"backgroundColor\":\"#ffffff\",\"forceTitleTextFormat\":false,\"titleTextformat\":\"PetitsTitres\",\"forceTitleTextColor\":false,\"titleTextColor\":\"#000000\",\"forceContentTextFormat\":false,\"contentTextformat\":\"Default\",\"forceContentTextColor\":false,\"contentTextColor\":\"#000000\",\"nightMode\":false,\"rowAmount\":3,\"preOpenFirstRow\":true,\"preOpenAllRows\":false,\"turnOffOpenCloseOnClick\":false},\"cont\":[{\"title\":\" At the origin, there is a need to get down to the bone of dance. To dance from a desert of images, to empty the mind of knee-jerk references. To work only from the raw truth of the inner movements that arise in encountering the other.<\/p> I adapted for the body an improvisation protocol inspired by the Meisner acting method, a technique built on observing the other and on repetition, which is only ever done in pairs, eye to eye. The rules of the choreographic game create a situation of extreme constraint: never take your eyes off each other, move only within each other's orbit, never break the connection that invisibly links the bodies.<\/p> Sustaining the movement protocol over time, and in silence, draws you into a kind of phase: you find yourself completely with the other. It is an experience that is rare in everyday life, and very intense. The relationship charges the space. Every variation becomes palpable and bends the thickness of the air. Maintaining this fine tension, adding nothing, only sustaining the transformations and circulations of states of presence: that is where the whole challenge of dance-and-sound writing lies.<\/p> The sound of our boots striking the floor has become the primary element we compose with. The pace is a little slower than expected, the walk steady. The rhythmic variations (stopping, starting again, speeding up, slowing down, stamping the floor, feinting) arise from the way the situation affects us, as a way of escaping the other, of finding some play, or of melting into duration, right inside the intensity of the relationship. The sound design, a whole range of blown air and oscillating frequencies running from false silence to saturation, supports this intensity or shifts how it is perceived.<\/p> Decisions are made in full view: no darkness, no turning our backs on the audience arranged all around, as close as possible to the faces, porous to the reactions provoked by emotional overload. The audience itself is part of the circle, confronted with the gazes opposite.<\/p>\",\"isOpen\":false},{\"title\":\" \\u00a0<\/p> \\u00a0<\/p> \\u00a0<\/p> \\u00a0<\/p>about<\/h2>\",\"content\":\"
technical specifications<\/h2>\",\"content\":\"
40 minutes<\/h1>
360\\u02da audience<\/h1>
capacity ~120 people<\/h1>
a quiet<\/span> venue (where 'silence' can be maintained)<\/h1>
With a wooden floor<\/span> (hangar, barn, ballroom, reception hall\\u2026 or a theatre stage with lighting)<\/h1>
stage dimensions : min. 6 metres in diameter<\/span> + audience area<\/h1>
quadraphonic sound (4 speakers + 2 subwoofers)<\/h1>
3 to 4 people on tour : 2 dance artists, 1 composer + 1 lighting designer if performing on stage<\/h1>