Catherine Legrand and Hervé Robbe work in a closed environment which is not that of heightened emotions, but rather the calm which comes of withdrawal to an isolated place. Two chaises longue set on stage are inviting, even to the point of a nonchalant desultory conversation. The set design acts on everyone's memories with its references: a family photo and a landscape are projected on screens and commented on by the dancers themselves offstage. Time is suspended between a suddenly-illusory past and present. The bodies harmonise by mimicry and then slip into a syncopated form, which surprises the other in its approach. The choreography is the result of a composition which takes into account spontaneity of movement and the need for a written form. Between abandon and control, the gestures whisper snatches of a dialogue which weaves together as the thread of the dance is spun out.

Source : Centre Chorégraphique National du Havre Haute-Normandie

Born in Lille in 1961. After studying architecture for a few years, Hervé Robbe set his sights on dance. He was principally trained at Mudra, Maurice Béjart's school in Brussels. He began his performing career dancing the neo-classical repertoire, then went on to work with various modern dance makers.

In 1987 he founded his company: le Marietta secret.

The course of his career is clearly founded on a constant renewal of his choreographic writing. Supported by loyal artistic collaborators, his work has become increasingly sophisticated over the years, associating the dance presence with visual, sound and technological worlds. His projects, polysemic works, take many forms: frontal performance, ambulatory shows and installations.

The place of the audience, its presence and view is decisive; the stage space is regularly called into question.

His arrival at the CCN (National choreographic Centre) of Le Havre Haute-Normandie offered more opportunities for his research.

In 1999 he composed his autobiographical solo Polaroïd. Within it, video images of places associated with his childhood appear and coexist with an uninterrupted physical display.

In 2000 he explored the theme of home with Permis de construire – Avis de Démolition, a diptych consisting of an installation and a performance. He went on to tackle the theme of the garden in 2002 with Des Horizons Perdus.

In a world constructed with screens – virtual containers for the body, evokers of death – in the duet REW he engaged in a dialogue between man and woman on the theme of suicide. In 2004, with the group piece Mutating Score, he returned to the idea of the performance area being a common space occupied by both audience and dancers. This installation-dance, while reaffirming this conviction about the force of movement, marks the culmination of a project on the use of new technologies, which are integrated into the show in real time.

In 2006 he designed the installation So long as baby...love and songs will be, a kind of manifesto of the preoccupations which underlie his work. The device is a containing structure in which the audience is invited to watch and listen to the dancer-singers present on screen. Hervé Robbe distanced himself from the stage with this, then returned to it in the works Là, on y danse in 2007 and Next days in 2010.

While maintaining his personal approach in his own productions, he regularly accepts commissions from the Opéra de Lyon, the Gulbenkian Ballet, the CNSMDP (Paris Conservatoire) and the Hong Kong Academy for Performing Arts.

Source: Centre Chorégraphique National du Havre Haute-Normandie