Samuel Mathieu’s dancing is halfway between a conceptual approach of the idea he wishes to convey and an assertive taste for a final object danced in a literal way. Early on, for his pieces, he required his performers to show strong physical commitment. Physicality is a word that he often refers to as a choreographer. A word that encompasses the notions of performance, demand, accuracy and speed at the same time.
Moreover, even though his career as a choreographer is interspersed with recurrent moments of self-examination which have led to the creation of a few soli in his repertoire, and even though he is attentive to all the performers individually as human beings, Samuel Mathieu likes the group, the assembly, and even the cluster, the intertwinements and the entanglements of bodies. With the group he searches for the rhythm of his pieces through alternating moments of unison and moments of confrontation.
For many years now, his creations have focussed on the link between music and dance, on the place of sound and rhythm compared to the dance, to the movement. A strong and long-standing collaboration with Maxime Denuc has enabled him to test several musical writing principles to accompany his pieces: real-time electronic musical composition during rehearsals (Generic-X), composition of a score based, just like for dancing, on improvisations, suggestions, exchanges and compositions with the musicians of a string quartet (The Man who Plunges), creation of a musical piece before the choreographic creation in order to observe the musical work’s positioning, in terms of influence, compared with the choreographic work’s (Remarkable identities).
A film by Olga Dukhovnaya and Konstantin Lipatov from the performance Korowod With Amalia Alba, Florence Casanave, Olga Dukhovnaya, Lisa Miramond, Annabelle Pirlot Curated and produced by Amélie Couillaud and Dimitri Chamblas.
A sculpture of interactions, accessible and alive.
Who is Ulysse Lacoste?
Fascinated by science, Ulysse explores the themes of balance, gravitation and movement. He graduated from ENSAAMA-Olivier de Serres and since 2002 has been developing his own know-how in metal, combining the ancestral skills of forging and brassware with contemporary and industrial techniques. The result is simple forms born of geometric games, mobiles with a point of balance that is constantly lost and found again, stabiles in tension where all forces cancel each other out.
He has collaborated with several science and technology museums (Musée des arts et métiers, Palais de la découverte, IHP, Exploradôme,…), created apparatus and scenography for the circus world, exhibits monumental sculptures and carries out performances in the public space. Sensitive to the nuances of their environment, Ulysses’ sculptures seek synthesis, are interested in abstraction, and speak of simplicity.
Project 3. the Movement laboratory, A moment of pure research and creation around the circle, at the crossroads of the worlds of the circus and monumental sculpture, this laboratory puts into equation the geometric trajectories of bodies and volumes in an offbeat workshop, an imaginary colloquium of utopian surveyors.