The movements present in Second Quartet are not immediately recognizable. Rather, they are motivated by concrete goals—such as avoiding, striking, throwing, pushing, and resisting—but impeded through the use of specific strategies. The targeted objects are not present, or body parts used during the movements are ill-suited for their goals. For example, a dancer may hit an imaginary object or attempt to push another dancer with his throat or rib cage. Without the spectator having to recognize the motivations behind these incomplete movements, they are intended to stimulate his or her own physical memory by appearing directed or defined by something that is invisible. This openness allows images, physical expectations, and other associations to inform the spectator’s perception of the movement itself.


November 13, 2018: La Maison du Peuple – Belfort
November 6, 2018: Scène Nationale d’Albi
May 16 – June 9, 2018: L.A. Dance Project / "LIVE from 2245" – Los Angeles
April 20-23, 2018: Théâtre des Champs-Élysées – Paris
March 10, 2018: Newman Center for the Performing Arts – Denver
March 2-3, 2018: The Performing Arts Center at Purchase College – Purchase
February 16, 2018: Adrienne Arsht Center for the Performing Arts – Miami
January 26-27, 2018: Stanford Memorial Auditorium – Stanford
November 14, 2017: Lensic Center for the Performance Arts – Santa Fe
November 2-4, 2017: The Wallis – Los Angeles
September 28-29, 2017: Dubai Opera House – Dubai
September 22-23, 2017: LUMA Fondation – Arles


Quartet for the company L.A. Dance Project directed by Benjamin Millepied
Choreography: Noé Soulier
Music: Noé Soulier with Tom De Cock from Ensemble Ictus
Lighting: Victor Burel and Noé Soulier