In this very atypical show, you succeed the choreographer Edouard Hue. How did your arrival in this team come about?
When Emilio (Calcagno) presented the project to me, I immediately said “yes”. For me, as soon as we talk about dance, let’s go! It’s especially something that made me curious, in the sense that it was really a choreographic piece, from lots of different universes. It also took me out of a context in which I usually go to perform. In my head, I would never have said to myself one day that I was going to perform with contemporary choreographers (seven choreographers offer seven seven-minute pieces, Editor’s note). I find it quite interesting, the mix of genres, to break the codes a little.
What did you like about this proposal from Emilio Calcagno?
It’s mainly the fact that it’s really seven different universes. You have the impression that everything is organized naturally despite everything. I also really liked this slightly psychedelic side, something a bit like the Doors, quite 70’s strangely. I liked this kind of hybrid object, where everyone put a bit of their heart into it, their creation, and where it forms a kind of fairly whole body.
How is this creation new for you?
I think maybe I’m expected to do ballroom dancing, even though that’s not at all the direction I’ve been going in for years, even if I still do it. I like to look for things that are quite far from me. Above all, I want to tell stories, so I try to have my touch, and I have the impression that it is more in the form of little skits. I’m a fan of cinema too, I find it difficult to imagine a dance without narration.
Your choreography talks about childhood, can you tell us about it without revealing too much?
It’s Marion Moreul (dancer of the Ballet de l’Opéra Grand Avignon Editor’s note) who will play the child. She is superb, a real little youthful face, she has big blue eyes, she is very curious, very expressive too. That’s what I was looking for. The idea is an adult who will arrive in a place and who will remember lots of things, and who will finally understand the need not to forget her past.
How did you choose your dancer?
I went down to Avignon a few days ago, I met the dancers from the Grand Avignon opera ballet who could possibly perform on this creation. Quite naturally, I chose the one who looked the most “childish”, and who also had acting qualities. I did a lot of little choreography, little improvisations. Naturally her face perked up, and I said to myself: “It’s her”. It was a pretty easy choice. (laughs).
How would you like to develop your choreographic career?
This mix of images, videos, dance, I love it so much. Dance will always be part of my life. It’s always very dizzying at the beginning because you really start from a blank page, and gradually, by dint of having thought about it, felt it, reflected on it, you feel that it’s coming together. Of course, I’ll continue because like there, you can spend eight hours in a studio and you feel like you’ve done half an hour.
Have you been to the Avignon festival before?
The last two years, I came as a spectator. I went to see friends who were acting in the plays. So, I know Avignon a little bit. I rediscovered the city outside of the festival and it was also quite nice because it was very peaceful, and I find Avignon to be wonderfully beautiful. I visited the Palais des Papes. And then, this very early morning sun is also quite warming.
In the future, would you like to present a personal creation at the festival?
Yes, anyway, live shows, anywhere, are still fabulous to present. Afterwards, it’s always the same, it’s production issues that come into play. But yes, I think it’s a bit of a dream for many artists. Afterwards, no plans on the comet, I know I have something very written, but I don’t know if it will see the light of day. Life will tell us!
