Little Perceptions is based on movements motivated by practical such as hitting, avoiding or throwing. This is an indirect way to define movement: instead of concentrating on the formal qualities of their movements, the dancers try to accomplish actions on imaginary objects as precisely as possible. These practical goals give very specific motor qualities to the gestures: direction, body part, muscle tone, speed, force, impact, affect of the performer… This indirect definition of the movement makes it possible to capture a kinesthetic richness that would have remained inaccessible if one had defined the qualities of the movements directly.
Each sequence of movements is composed of only one type of action. This makes them very homogeneous. Each movement is different, but the differences are too small for individual movements to be isolated and identified. The spectator has to experience the sequence as a whole and he cannot divide it in distinct parts. There is neither evolution, nor development. With this approach, I try to investigate the visual and kinesthetic perception of movement: what can we see, what can we distinguish and what can we remember?
Choreography: Noé Soulier
With: Thibault Lac, Daniel Linehan and Noé Soulier
Dramaturgy: Mette Ingvarsten
Music: Les Folies Françaises – La Frénésie, François Couperin; The Well Tempered Keyboard, Prélude nr. 15 in G Major, BWV 860, Johann Sebastian Bach
Interpretation: Pierre Hantaï
Executive Production: ND Productions (Paris)