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Y aura-t-il pour de vrai un matin ?

Venues|Dates

Théâtre National Chiung-Kai Shek de Taipei

24 Feb. 2012

  • 20H30

25 Feb. 2012

  • 15H00
  • 20H30

26 Feb. 2012

  • 15H00
Théâtre Louis Jouvet de Rethel

15 Mar. 2012

  • 14H30

16 Mar. 2012

  • 20H30
Théâtre de La Madeleine de Troyes

20 Mar. 2012

  • 20H30
Le Dansoir - Karine Saporta

22 Mar. 2012

  • 20H30

Myriam Herve-Gil | Anne Mulpas

Y aura-t-il pour de vrai un matin ?

Presentation

My feet exceed the dress - venture on the paper. My feet speak. I do not know how to dance nicely, with my little finger raised and an absent gaze. I am no flaunting butterfly. I dance upside-down. Me. Oh - it is so good to love you - in between four walls - and the fourth has opened. It has opened, hasn’t it ? And it hasn’t died in vain, has it… Has it ?
Anne Mulpas

Barely present on the stage of literature during her life, Emily Dickinson was also remote from the theatre of life. It is her choice to retreat from the world and what resulted from it in her work that raised my interest. Furthermore, I was fascinated by her liking  for abstraction and meta­physical speculation, encapsulated in her sharp and irrevocable style ; [by] the blurring of borders between closeness and distance, intimacy and sociability, familiarity and strangeness1. Thus I was convinced that the blank page, the stage itself, ought to be here more than ever invested with words and gestures alike - so body and language, theatre and dance would meet, and their relationship renewed.

1 : Patrick Kechichian – Le Monde, 1998.

Cast

Artistic direction and choreography : Myriam Herve-Gil

Text : Anne Mulpas

Translation in Mandarin : Hsia Yu

Stage direction : Myriam Herve-Gil et Jean-Marie Lejude

Choreography assistant : Tai Yu-hsiu

Cast : Hsu Yen-ling, Pascale Degli Esposti, Cheng Yi-wen, Chen Po-wen, Su Kuan-yin, Chang Chih-chieh

Music : Lin Jin-yao

Lights : Wong Choo-yean

Costumes : Yang Yu-te

Setting and interpreting : Sun Ping

Tour administrator : Wang Chia-wei

Production

Coproduction : Cie Herve-Gil, Cie Dance Forum Taipei, Théâtre Louis Jouvet de Rethel – Scène conventionnée des Ardennes, Théâtre National Chiang-Kai Shek de Taipei

With the support of : Ministère de la Culture de Taïwan, Ville de Taipei - Département des Affaires Culturelles, ORCCA-Région Champagne Ardenne, Institut Français de Taipei, Réseau A l’Est du nouveau

Acknowledgements : Centre Culturel de Taïwan à Paris, Centre National de la Danse de Pantin.

To know more

Dance Forum Taipei has engaged in a number of interesting collaborations with overseas artists in recent years, but the latest, culminating in “Will There Really Be a Morning”, presented as part of this year’s Taiwan International Arts Festival, is surely the best yet.

The work came about following a chance meeting between French choreographer Myriam Herve-Gil, well-known for her exploration of feminist themes, and noted Taiwanese theatre actress Hsu Yen-ling at the 2009 Avignon Fringe Festival. They found they shared a love of the poetry of 19th-century American poet Emily Dickinson, whose often low-key, unassuming work gained recognition only after her death in 1886. Their subsequent conversations gave rise to the production, for which Herve-Gil invited French playwright and poet Anne Mulpas to write a script that emphasised both Dickenson and female life in the twenty-first century. She then asked Dance Forum Taipei to participate having seen them perform in the US.

The result is a mix of Dickinson’s text, spoken in Chinese and English, dance and music (mostly played live by Lin Jin-yao) as Herve Gil and her team explore what it means to be a woman and an artist. Many of Dickinson’s poems focus on death and immortality. “I felt a Funeral in my Brain”, “The grave my little cottage is” and “Because I could not stop for Death” are just three of those used. Yet, the work is far from heavy. True, it is mostly slow and contemplative, but this is one of those productions, though, that creeps up and grabs you without you realising that it has done so.

It gets off to a slow start. There is little action as three women (Hsu, French dancer/singer Pascal Degli Esposti and Dance Forum Taipei dancer Cheng Yi-wen) sit and recite snatches of Dickenson’s poetry, later moving, but little more than very simple, slow turns along straight lines across the stage. The interest increases rapidly as three men, each on their own plinth, were brought into the action. At different times they had the appearance of statues, automatons, and real people. They often lifted their partners gently off the floor, holding them in mid-air as if they were floating, in just the same way the Dickinson used dashes to separate text, thus leaving rhyme sort of suspended.

The men were largely cold, little more than physical supports for the women, whose movement in stark contrast quite clearly reflected their innermost feelings and emotions. More often than not the stage was lit by a shaft of light from above left that cast shadows and left hidden corners. It was as if we were being let into their, or maybe Dickinson’s, mind, maybe both. Yet all the time much remained uncertain.

The sound of the spoken word and the effect of Dickinson’s unique approach to punctuation came together to provide a sense of rhythm. An English translation of the poems used was provided for those in the audience not fluent in Chinese. It made interesting reading and added another layer afterwards, but not being able to read it at the time didn’t really matter. In any event, Dickinson was noted for her poems often having multiple meanings.

The end comes gently, and in many ways leaves the work hanging, despite the final lines suggesting death and eternity. What I can say is that the memories of this beautifully and delicately crafted and staged work still linger.

Ballet - Dance Magazine - David Mead

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