What is not seen, what is hidden
At the back of the stage, another choreography takes place, timed to the millimeter where everyone plays first for themselves: no time to give for particular attention external to what is to be done, lingering to help someone , dream, everything is counted and everyone, in order not to miss any of their entries in the visible face of the spectators, is held to implacable autonomy, can only count on themselves, in a sort of jungle made up of individualism and order which does not accept, in principle, any side steps. Everyone must have extremely precise movements to grab their accessories, undress, change costumes, while continuing to follow during this time what is happening in front of them, which is being shown to the public.
For the implementation of this work, and despite the difficulties linked to the multitude of vignettes, the change of costumes, the intense noise of the music, were created and even stronger than the individual resourcefulness to get by, solidarity, mutual aid which made possible the articulation of several entries, considered impossible to achieve. If the front stage gives the image of a landscape in disarray, a future obstructed by everyone for themselves, conversely, the back stage carries within itself the image of what, until today Today has never ceased to contain misfortune a little: the common need to act together to contribute to the well-being of all.

This film, far from being another capture, interweaves the two sides of the show: the frontal shot seen from a theater, and the one, invisible to the spectators, on the other side of the mirrors.
A production where we will be able to discover and follow a dramaturgy that is very different and rarely observed and yet complementary to that which takes place on stage. This immersion reinforces the impression of the real time of the show and makes us feel the urgency and dizziness of the meticulous work of collective interpretation at work in the middle of the storm.

David Mambouch et Maguy Marin. 

Maguy Marin was born in Toulouse in 1951 and studied dance at the conservatory there before joining the Strasbourg Ballet. In 1970 she was accepted at Maurice Béjart’s school Mudra, where she stayed three years before becoming a soloist (for four seasons) with the Ballet of the 20th Century, under the direction of Maurice Béjart. A turning point would come at the end of this period seeing her shed all her previously held conceptions “allowing a multitude of creative choices, liberty and also constraints to emerge. Nothing was ever the same”. She also began questioning the body types idealized within the dance world, a subject that would become central in her work. “With Maurice Béjart the body was magnified. Youth, virtuosity, everything sparkled. And I had a problem with that. I asked myself what happened to all those other bodies, the ones that were infirm, misshapen or uncoordinated, but who managed to keep standing nonetheless.” 

Between 1980 and 1997 Maguy Marin was based at the Maison des arts in Créteil, with her company becoming an official Choreographic Centre in 1985. 

From 1998 until 2011 she directed the National Choreographic Centre in Rillieux-la-Pape. After which time the company once again became independent, setting up in Toulouse in order to continue their creative research. In 2015 the company moved again, this time to Sainte Foy-lès-Lyon, where they set up in an old carpentry factory. Their tenure there would allow them to continue to open up the immaterial space of that which is shared, something that obstinately seeks to make itself manifest while encouraging the unfolding of a new ambitious project: RAMDAM, AN ART CENTRE. It is a place of horizontal sharing, dedicated to hosting artists and audience members alike. It is also a place intent on facilitating an on-going exchange and continuous circulation between those conducting research, amateurs, students, spectators and volunteers; as well as creating bridges between different artistic practices, laboratories, places for public relations, education and reflection. 

- 1978: Grand Prix du Concours chorégraphique international de Bagnolet - 2003: Grand Prix de la danse du Syndicat de la critique for
Les applaudissements ne se mangent pas
- 2003: American Dance Festival Award 

- 2006: Special jury prize Syndicat de la critique for Umwelt
- 2008: Bessie Award for Umwelt presented at the Joyce Theater
- 2008: Grand Prix de la danse du Syndicat de la critique for Turba
- 2011: Prix Danza & Danza for “Best Contemporary Dance Piece » for Salves - 2016: Golden Lion, Venice Biennale 

More information : compagnie-maguy-marin.fr

 David Mambouch studied acting at the École Nationale Supérieure des Arts et Techniques du Théâtre before becoming a full-time performer with the Théâtre National Populaire. Parallel to his work with the theatre company, he also performed in films and on television and began writing and directing his own theatrical work while also collaborating on the work of others. He also continued to develop his work as a scriptwriter, writing and directing several short films such as La Grande cause, directed in collaboration with Olivier Borle. As a solo artist or in collaboration with such companies as La Katet Compagnie, La Compagnie Parc, La Compagnie Scènes, La Compagnie Zélid and Le Théâtre Oblique among others, he began exploring multi-disciplinary work in which theatre, dance, music and film intermingle. He also collaborated with the Company Maguy Marin, first as a director for the creation of the film Nocturnes and then as a performer in restagings of May B and Umwelt. 

In 2014 he created the solo Singspiele in collaboration with Benjamin Lebreton and Maguy Marin. He also created the soundtrack for the performance. 

Source : Naïa productions