Myselves, an interactive choreographic piece, stages a dialog between a dancer and her multiple selves, embodied in an autonomous and unpredictable visual and aural creature, which emanates from her psyche as interpreted by optical and body sensors.

Interactive choreographic show
Duration : 50 mn – all public

Creation 2019

Jean-Marc Matos : Co concept, choreography
Marianne Masson : Co concept, co-choreography, interpretation
Antoine Schmitt : Co concept, interactive, audio and visual design

Technological collaboration : Stefano Piana (engineer)
Research Center Casa Paganini_InfoMus, Genoa, Italy, Dir. Antonio Camurri
 Automated movement qualities analysis with the EyesWeb platform.

Design sonore : Antoine Schmitt, Jean-Marc Matos
Musiques : Robert Crouch, Ipek Gorgun, Nils Frahm, Franck Vigroux, Daniel Brandt, Haushka, Biosphere, Klara Lewis & Sinon Ficher Turner.
Création lumière : Fabien Leprieult
Création consumes : Benjamin Haegel

A human being is immersed in the midst of a sensitive environment which constantly interprets her internal states through the infra-verbal signs of her body movements, and which embodies these multiple internal states in a semi-autonomous visual and aural living creature existing in the space of the stage, and with which the human being therefore enters into interaction in an instantaneous auto-generated choreography.

On the stage, 2 creatures: one human, one artificial. Both live their own lives; however one does not exist without the other as they constitute one and the same person. One sole person, in all of its plurality.

A mosaic body, between human and non-human, bisexual, each part with its « own passions », in a continuous loss of control, dis-aligned and braced between absence and presence. The danced movement challenges the inherent limits of humanness while the digital metaphor makes both real and abstract what a human body alone cannot show. The instantaneous choreography emanates from a dialog between the visible body and internal states made visible, for the public and for the dancer herself – the human being who carries them.

The artificial creature, endowed with a natural polymorphism, can embody and express a large variety of states according to the analysis of the dancer’s qualities of movement, and therefore becomes largely unpredictable whilst being fundamentally linked to her internal states.

By imitation, opposition, dialogue, seduction, fleeing, fight, etc. is born a kind of tragedy or combat with invisible forces stronger than the self with multiple and successive me’s. Until, perchance, making peace with one’s internal demons, and finally standing and walking together.

The projection spaces of the stage, as well as the human body itself, all become portals to the invisible, on which the creature appears.

The artists do not provide any answers but allow the spectators to perceive beyond the skin, to delve in the burrows of this being, and why not, identify with her, with themselves…

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