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 scenographic 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.
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.
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.
On the occasion of the remake, at Paris’s Salle Cortot, of Massenet’s opera Cléopâtre, a sung opera last sung almost a century in Paris, Association Massenet, which is in charge of the project, asked Silvère Jarrosson to create the decor for the re-creation, projected on the stage background.
In order to provide a suitably dignified set, at once historical and contemporary, for this work, it was decided, in agreement with the artist, that the period set, which survives only in the form of engravings kept at Monte-Carlo Opera, would be reused, with a digitalized addition by the artist.
The resulting, rather bold combination designed by Silvère Jarrosson was presented on 16 October 2019 at Salle Cortot. Every scene in every act was artificially altered to include abstract elements from his artwork. The result was at once original and bold: the painting was freed from some of the constraints specific to the medium, while enriching the period engravings with fresh colors and shapes, as well as an extra level of significance made possible by the additions.
The first scene in Act III, a particularly sensual love scene between Cleopatra and Mark Antony, portrayed a bed, in the original version, to discreetly suggest the lovers’ ecstatic journey. The swirls above it offer the spectator’s a very visible sign of the pleasure entailed by love.
Ou comment l’abstraction vient nourrir et offrir un autre regard sur une scène figurative.
Artistic director : Hervé Oléon