Against the Erosion of Gesture and Gaze

International audienceMy investigations on the capture of the dancing figure by a spectator or the construction of a mode of theatrical appearance, have led me to interrogate the spatialities in dance. In other words, to analyse the complex overlapping of architectural, theatrical, sonic, choreographic, and corporeal spatialities. The building introduces the frame of representation and composes a powerful optical apparatus. Stage spatialities –the scenographic installation, but also the choreographic drawing of the pathways, their rhythm and their speed– are likely to reconfigure this first frame. Eventually, corporeal spatialities –the orientation of the interpreter, the amplitude and the direction of her movement, her relation to projection, the dynamic, rhythmic, and stabilizing nature of her gesture that colours the nature of the space, the way in which the gaze can make spaces exist – shape the exchange with the audience (Perrin, 2005: 2). The aesthetic analysis of the choreographic work in a theatrical context touched the question of architecture and the site. A dialogue with architects was going to be the logic continuation of these investigations