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Conception : Camille Mutel
Interpreters : Alessandra Cristiani, Isabelle Duthoit and Mathieu Jedrazak
Music : Isabelle Duthoit, , Scarlatti
Light design : Philippe Gladieux

Stage managing : Antonin Mauduit, Gildas Goujet

Costumes : Eleonore Daniaud

Masks : Den Durand

Makeup : Séverine Martin

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There is a place where the reality of the intimate body transgresses the categories of the social body - where it does not take into account the norms of the community or age, and places doubt even on sexual identity. In the movement of life, there is a place where being is more vast, more fragile, and more uncertain than all the structures that exist to describe it. Inspired (without reproducing it) by a medieval ritual form from Sardinia, the choreographer Camille Mutel seeks to question this space within which there is this “crisis of presence”. The dance of the Argia, a type of Sardinian tarantella, offers a reservoir of symbolic practices organized to collectively and singularly go through the confusional state of an individual in the village. It is a dance in response to the individual’s trouble and doubt about his/her own form – and form understood in the sense of one’s health, but also pertaining to the contours of oneself and one’s ways of appearing. The whole of the community supports the crisis of one among them, and thereby offers sanctuary for each of its members in their possible moment of crisis.

For the first time, Camille Mutel has decided to stay in the wings to guide the three artists she invited. She leads them to engage and manipulate their own material and tools, that is, their voice and body. Organizing the encounter and the sense that she wants for the spectators, Camille feeds the imagination of the audience and orients the movement towards animality and a game of dialogue between nudity and costumes. She envisions the body in its heterogeneity, its multiplicity, and its reality – resolutely more complex than the simple envelop of a defined identity. In the openness of being, Camille sees the resources for creativity, for a reinvention of self that concerns everyone, both the actors and spectators of this moment of permissiveness that is ultimately healing. In the 21st century, performance is without a doubt the place dedicated to laying out existential and vital questions that were once posed in the festivals, carnivals, and rituals of communities.

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