Project approaches dance by way of crosspollination between dance and other art disciplines, specifically music, installation, performance, and digital creation. Projects by T. Project vary in format and scope, and are designed to be presented on stage, but also in galleries, contemporary music venues, art centers, and the public space. Thierry Micouin regularly offers workshops for children, teenagers, adults, amateurs, and professionals, with whom he develops a sensitive and rigorous teaching method.
Expanding their transdisciplinary approach, Thierry Micouin and Pauline Boyer reprise the experiment of transposing musical notation into choreographic writing, started with Jour futur. In Lutte. The idea is to use the Gouren practice area and at the same time draw inspiration from symbolic objects and colors that made a number of protests instantly recognizable: yellow vests, carnations, umbrellas, the colors orange, green, and saffron…. The transposition of the vocabulary of Gouren into choreography, and its performance to the pulsing rhythm of music, will thus be nourished by contemporary social struggles, and particularly those driven by women and ethnic or sexual minorities.
In the tradition of Gouren, this version will be presented outdoors or in non-dedicated spaces, in a circular staging area surfaced with material such as sawdust, flower mat, etc.
It will be a space of convergence between dance and political action, with the dancer surrounded by the public. The dancers will also move in a circle. The quintet version will highlight the structure of the musical composition. In parallel to the research, meetings, and explorations, followed by rehearsals aimed at honing the performance with the help of five dancers, we are going to collaborate, specifically through practice workshops, with the wrestlers and with the inhabitants of the territories where Gouren is practiced.
These sessions will in turn stimulate and refine our research. This first version of the piece is designed for a public space. As a trial run before the quintet, the solo will allow us to fine-tune our research objectives, articulate the often-complex transposition of a sport practice to the stage, and to disseminate the piece outside dedicated theatre spaces. This album, with its smoky softness, foreshadows the crises that are hitting us hard right now. It builds a musical architecture, where, on a white surface gradually turned black, unfolds a repetitive, hypnotic dance, segmented and geometrical.
