La mécanique des anges
Mécanique des anges (La)
Choreography Thomas Guerry, Camille Rocailleux
Dance performance Aline Braz de Silva, Arnaud Cabias, Romie Esteves, Caroline Rose, Nicolas Martel, Clément Ducol, Christian Boissel, Olivia Scemana
“Uprooting, wandering, cohabitation, re-connection with our instincts, these are the central notions that we deal with in the work. In addition, we are interested in the rapport that we keep up with our own image, starting from the premise which states: by a mirroring effect, one's self-image and the image of the other give rise to questions which step outside the strict artistic or narcissistic frame, and permit the enrichment of our connection with the world and with ourselves. Each performer takes part in both the musical dialogue and the choreographic dialogue.
The writing of our performances is a ‘four-handed' affair. What connected us from the start of our work together was this idea that we shared fully, that there should not be musical writing on one side and choreography on the other, which would find its life and breath in the time and tempo of the other. Neither would the choreography dominate with the music serving as accompaniment. But that everything would advance, would be created in the same progression, in a ceaseless dialogue, each enquiring of the other, evolving in the same forward movement. The story line, as such, is kept as a kind of support. What really counts is the ‘echo' which is inevitably produced by this process, by the interpretations of one and the other. Similarly, we expect our performers in their turn, with their own and unique being, to enrich (that is to say, modify) the given directions. In our auditions, we have up to now favoured talented younger people, like ourselves at the end of the day. This time, and we arrived at this quite naturally by the evolution of our own views, we wanted to take a closer look at old age, that ‘problem' stage of life, and give it its own energy. In our third piece, even more than previously, we pay more attention to the use of the voice as a powerful vector of emotions, as well as the body, that of the dancer as much as that of the musician, bodily ‘states', their presence in the world, their capacity to recount, to themselves alone, the sum of a narrative or a situation.
We have chosen not to perform in our new work so that we can ensure that we do not depart from the intentions which form the basis for our investigations:
-the meeting of periods, personalities, destinies, being involved in the present rather than the past or future of our characters
- their journey rather than their arrival point
- sensitive rather than cerebral
- letting go rather than absolute control
- the fantasy of the improbable rather than the authority of the logical
- the “sample” (as a selected part of the whole) of the individuals, their acts, in space and time, here and now, rather than the clearly-defined context
- telescoping of reason rather than coherence
- subtle evocation of recurring themes rather than ‘ready-prepared' messages
- the fragility of one who ventures into unknown territory rather than pure, perfectly-controlled performance
- the intimate and unique emotional journey of each member of the audience rather than a linear story”
Thomas Guerry, Camille Rocailleux
Source : Maison de la Danse programme
Conception, mise en scène Thomas Guerry, Camille Rocailleux chorégraphie Thomas Guerry musique Camille Rocailleux danseurs Aline Braz de Silva, Arnaud Cabias chanteuse lyrique Romie Esteves chanteuse, guitariste Caroline Rose chanteur Nicolas Martel percussionniste Clément Ducol pianiste Christian Boissel contrebassiste Olivia Scemana lumière Bruno Sourbier réalisation sonore Olivier Pfeiffer décor Giovanni Parisse costumes Atelier Bonnetaille, Charlotte Pareja asistée de Nicole Cholat, Sébastien Cormier
Réalisation Charles Picq date du document vidéo 2009 production Maison de la Danse
Updating : January 2011
Born in 1977, Camille Rocailleux graduated from the Conservatoire National Supérieur de Musique et de Danse de Lyon and won the First prize.
He co-founded the ARCOSM company with Thomas Guerry in 2000. This step marked the begining of a important artistic work and the creation of 4 dancing and musical play: "Echoa" (2001), "Lisa" (2007), "La Mecanique des Anges" (2009) "Traverse" (2010) "Solonely" (2012), "Bounce!" (2013), "Sublime" (2015).
Camille Rocailleux contributes to various artistes and bands: National Symphonic Orchestras of Lyon and Toulouse, The Opéra National de Lyon, The Orchestre Philharmonique du Luxembourg (Chamber Music order for « Dance010 ») The actor and storyteller Yannick Jaulin (composition of musics and shows : "J’ai pas fermé l’œil de la nuit", "Menteur", "Terrien", "Le dodo", "Conteur? Conteur!" …), the film-makers Jean-Pierre Lledo, Gilles Porte, Gaël Morel (original soundtracks of: "Le Clan", "New Wave", "Notre Paradis"), the singer Daphnée (Prix Constantin 2007), production of her album "L’Émeraude", artistic contribution with Benjamin Biolay and the pianist Gonzales, contribution to the album "Carmin", the singer Camille (Body-percussionnist and choir singer ring the wordlwide tour – Music Hole Tour), the beat boxers Ezra and L.O.S. (Bionicologists project), the Jérôme Savary company (solo of Mona Heftre in the play "Albertine") and stage directors Laurent Brethome (Projet « H »), Dominique Lardenois, Yves Beaunesne ("Pionniers à Ingolstadt", "L’Annonce faite à Marie").
In 2013, he founds his own company of music, E.V.E.R. and creates "Obstinés!" (2013) and "Nous" (2016).
Source : The Arcosm company 's website