Pauline  L. Boulba translates into a choreographic form her own experience as a spectator, which she defines as being an “affected criticism”. Bringing together the discursive and the performative, her pieces cross over and reveal the different strata of life (psychology, history,  politics, aesthetics...) which participate in the exercise of interpretation. Her new creation opens up a dialogue with Kazuo Ono’s Admiring La Argentina in which the pioneering master of butô goes back over a twofold memory. The first refers to the discovery on stage, during his youth, of the flamenco icon Antonia Mercé; the second to his subsequent encounter with Nakanishi’s canvases, which reminded him of the dancer’s energy. In this respect, the piece aims at reviving memories of these real or symbolic ghosts, forming a bond with them that is similar to and as sensitive as that proposed by a medium. Using different props on the stage, Pauline L. Boulba maps out emotions and shares the way in which the dead can make us happy.

Source: program of the CND

An artist and researcher, Pauline L. Boulba has written performances and texts (essays, rap, poems) which draw on her experiences as a spectator of work shown in particular at the Laboratoires d’Aubervilliers or the Théâtre de la Cité Internationale. From 2015 to 2017, she created a series of solos entitled La Langue brisée. Her work is nourished by her various artistic collaborations with Sorour Darabi (Savušun), Anne-Lise Le Gac (La caresse du coma) and Pol Pi (Ecce (H)omo), as well as interventions with students (Département Danse of Paris 8 and Formation Exerce at the CCN of Montpellier).

Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).