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Steak House

Photo by Meister

It all starts off with the space that surrounds us and actual objects ; walls and furniture, blankets, every day objects. Where we live and belong.

I basically tried to imagine an engine that constantly produces images. A closed space that conjures up images. Because of the context, of the crucial situation and the bodies that are close to one another, the dancers lived together, shared things and interacted with the environment. They behaved in an absurd fashion, yet they seemed to do so on purpose.

No chaos then, just disorder. Disorder and proximity. What was taking place here was different. Normal rules don’t apply. By treating abnormal actions in a normal way, aspiration effect as well as distance seem to crop up, altering what the audience saw.

As in a cartoon, the action became surreal building up through a dream-like process.

This logic of absurdity was the path to be followed.

Then the space was deconstructed, the bodies spread through the stage. No-one knews what would come out of it.

promiscuity n.
indulging in promiscuous (casual and indiscriminate) sexual relations
promiscuousness, sleeping around, debauch, debauchery, bacchanalia.

promiscuité n. f.
Situation de proximité qui provoque un malaise, un inconfort ou qui est perçue comme amorale.

1. f. Mezcla, confusion
2. f. Convivencia con personas de distinto sexo.

Choreography by Gilles Jobin, Dancers were Jean-Pierre Bonomo, Niki Good, Marie-Caroline Hominal, Gilles Jobin, Rudi Van Der Merwe, Susana Panadès Dias, Music by Cristian Vogel.

With the support of Canton Vaud, City de Lausanne, City de Geneva, Pro Helvetia Art Council of Switzerland, Loterie Romande and Sophie and Karl Binding Stiftung.

Gilles Jobin was a resident choreographer at the Théâtre Arsenic in Lausanne and an associate artist at Artsadmin, London. He benefited from a ‘Contrat de confiance’ from the Canton de Vaud from 2001 to 2006.

Photo by Meister