Scenography

In a joint venture with Compagnie Illicite and choreographer Fabio Lopez, the ballet Aura was first shown on 19 January 2019 at Théâtre national de Bayonne, followed by further performances in France and Spain. The Requiem by João Domingos Bomtempo (1775-1842) provides the link between Fabio Lopez’s choreography and Silvère Jarrosson’s secnographic work. For the latter, the idea was to close a cycle: revert back to dancing after having left it. Several themes are intertwined in his scenographic statement: loneliness in the face of death—suggested by setting up a parallel world expressed by an abstract chimera—and the alliance between dancing and painting. The idea is, all at once, to dilute a dos eof movement in painting and a dose of painting in movement.

Extract from the video shown during the ballet Aura (Lacrimosa)

I

Aura (expiration, in ancient Greek) confronts the idea of death, both choreographically and scenographically, by choosing a requiem. The idda is to reflect on lost paradises, emptiness and loneliness, to use Fabio Lopez’s words. In this type of theme, my contribution could hardly consist in filling the remaining void space around teh dancers—but rather to provide a scenographic aesthicalisation of emptiness and wandering.

On a black background an abstract chimera takes shape, stretches and contracts, lost in this huge space—full or empty, depending on the moment. While its movements recall a form of existential turmoil, the manner of doing so is allegorical—by a choreography, performed within its own space. Initially seemingly distant and tiny, unwinding and then approacing slowly until it becomes a uge sreen that is eventually crossed, this fragment of animated paint leads the viewer to a passage:  death or resurrection.

II

Since the idea was not fill, but rather to leave the emptiness, I refused to design a video that directly interacts with the choreography. Dancing, combined with video, are enough in themselves, yet thair cohabitation expresses something. The moving image adds its own pace to the general choreography movement.

The chimera’s movement is a slow, almost motionless, planetary dance It condances powerful forces. The chimera unfolds, setting in motion a fine, fluid surface, covered in coloured traces propelled by their own energy, issued from a form of previously danced action painting.

I attempted to make dancing permeable by a form of immobility and, conversely, to make painting permeable to movement (which is life). The osmosis of disciplines and techniques was the backbone of the entire work carried out with Fabio Lopez and Théâtre national de Bayonne.