The Jeune ballet of the Conservatoire supérieur de Lyon performing the work Removing which explores movement qualities produced by practical goals such as hitting, avoiding, throwing, or reaching. These actions constitute a vocabulary of gestures that is shared with the audience. One rarely thinks of creating a line with one’s leg or of dropping the weight of one’s arm, whereas most of our daily movements are motivated by practical goal: to reach a location, to seize an object, to avoid a piece of furniture, etc. Using a common vocabulary enhances physical empathy and kinesthetic resonance.
The composition uses several kinds of unison by choosing different parameters the movement sequences can have in common: same geometrical structure in space, same type of action, same body part, etc. The resemblance can be extremely strong or barely perceptible. They allow the creation of different types of counterpoint (duo + solo, duo + solo + solo, duo + duo, etc.). I try to play with what could be called visual density: the quantity, complexity and heterogeneity either with sudden contrasts or progressive evolution. This visual density can change suddenly, for example by going from a four voices counterpoint to a unison, or on the contrary, evolve progressively.