These are bodies that decide to give up something, to effect a subtraction, to cast off in order to try to play a role which permits them to get out of a habitus, from a place inside their bodies. The beginning reflects a subjective break, a conversion, a life choice and this choice does not exclude a certain type of violence. I would like to question this violence through the bodies of the six dancers and to create a choreography that pushes to face the gap that sometimes separates words from actions. My aim is not to propose a solution but rather to simply talk of insistence: it seems necessary to bring back dance to a level which is very often evacuated that of the action. I feel the need to talk about the violence of this commitment and to question it with our bodies. Ultimately, it is an attempt to interrogate something which is inscribed in the origins of our theatre and towards which I keep coming back.

In order to attain that action we don’t hesitate to work on repeating the same sequences so that a sufficient force is obtained thus allowing the movement to be released from the flow, suggesting an experience. An experience which is not fearing confrontation with our own theatre walls on which the words Offending the Audience by Peter Handke appear to be like sweating our own movement and oozing in our performing area. A text acting like a stumbling block against which we are throwing our own bodies to establish our centre of gravity today. It is less of a matter of a group but it’s rather that of bodies which work individually to invent their own ritual. Crossing on the same stage, they interact at different times on their routes to assert their presence and define their commitment.