The Unreachable Suspension Point
A Writing Laboratory
Since I had just reached that age when one can, in a simplified manner and whatever the course of events, anticipate the main developments of a future life and talk about days to come with an air of past, I began developing a program. The age by itself was not an objective threshold, or a temporal reality: it was simply the awareness of something. However many days remained ahead - even relying on the most optimistic predictions - there would be too few. My plan was to disarm time. Yes, of course, that would be impossible in itself. But there existed different methods to attempt. It would be simple and definitive. A single sentence would be enough: “attempts to approach a point of suspension.” Something like the hopes for a certain piece, with its specific props (chairs, stairs, floors), its variations and its distinct set of physical forces (gravity, balance, inertia). Always pushing to approach an elusive present. And a conviction that a work of art can attain its true coherence with time. So, it's a constantly evolving process, shared over the long term, with a dedicated team…
Yoann Bourgeois
Approach 3. Chairs-tables
conception, direction, set design: Yoann Bourgeois assisted by Marie Fonte during the creation
duration: 6’
performed by: Olivier Mathieu & Marie Bourgeois
A table offers a myriad of theatrical possibilities, as each of the two characters take turns becoming the object of the other, as their dexterity and virtuosity of gestures creates sparkling signs.
Approach 7. Turntable-Wild is the wind
conception, direction, set design: Yoann Bourgeois
music: “Wild is the wind” by Dimitri Tiomkin & Ned Washington, interpreted by Nina Simone
design, construction: David Hanse, Nicolas Picot (C3 Sud Est) & Hervé Flandrin
duration: 10’
performed by: Olivier Mathieu & Marie Bourgeois
Centrifugal force pushes bodies apart from each other. The plateau on which the man and the woman evolve spins very quickly. It spins too fast. To resist the force that aims to split them apart, they cling to each other.
Approach 9. Balanced plateau-Boots of Spanish leather
conception, direction, set design: Yoann Bourgeois
music: Boots of Spanish leather by Bob Dylan
design, construction: David Hanse, Nicolas Picot (C3 Sud Est) & Christophe Rayaume
duration: 15’
performed by: Olivier Mathieu & Marie Bourgeois
Searching for balance reflects a specific relationship where the opposing forces are equal. But, in reality, different sides are constantly in motion and rarely equalized. The plateau on which a man and a woman evolve is supported upon a central point. It is extremely sensitive — so, the slightest movement made by one side of this platform has an immediate impact upon the other. This environment serves as a metaphorical amplification of the power dynamics that we can observe at the heart of all relationships.
Approach 14. Spinning chair
conception, direction, set design: Yoann Bourgeois assisted by Marie Bourgeois
music: Auf dem Wasser zu singen by Franz Schubert, interpreted by Barbara Bonney & Geoffrey Parsons
design, construction: David Hanse, Nicolas Picot (C3 Sud Est) & Hervé Flandrin
duration: 5’
performed by: Marie Bourgeois
To resist the power of a centrifugal force, the body has no alternative but to attempt to regain its balance by leaning in. Playing upon this paradox, this piece became as fascinating as it is essential.
Approach 18. Stairs, Touch
conception, direction, set design: Yoann Bourgeois
music: Touch by Daft Punk
duration: 9’
performed by: Olivier Mathieu
Inspired by Daft Punk's Touch, Approach 18 is a spectacular little dance performed by Olivier Mathieu to the ghostly voice of Paul Williams, playing on the border of the living and the artificial…
technical realization: Nicolas Anastassiou
production: Yoann Bourgeois Art Company
Yoann Bourgeois Art Company is financed by the Drac Auvergne-Rhône-Alpes / Ministère de la Culture et de la Communication.
The artist Yoann Bourgeois constantly strives to break down the boundaries between distinct artistic approaches. His singular method is embodied in physical passageways that highlight one-of-a-kind phenomena, pushing him to conceive of an extraordinary variety of spaces and infinite variations of movement. His universe of work is the product of a lifelong, permanent creative process that he sums up as “The unreachable suspension point”. After having performed with a host of renowned choreographers, Bourgeois created his own company in 2010. From 2016 to 2022, he served as Director of CCN (Centre Chorégraphique National de Grenoble), becoming the first circus artist named to lead one of France’s 19 CNNs (Centres chorégraphiques nationaux). Dedicated to art that is radically multidisciplinary, physical and innovative, Bourgeois oversees performances, collaborations and workshops in all parts of the world. His creations rely on site-specific creations that build upon the energy and specific particularities of the surrounding environment.
These performers move like dancers, but have the prowess of acrobats…
© The Guardian
Part of what’s mesmerizing about it: is it’s physical eloquence — how dancerly it is. The men don’t fall; but float. And when the trampoline restores him to the staircase, he moves at a half speed. Cinema, they say, is 24-frames per second. For a couple of beats, these guys are going at about 12. And the descents are all flourish — the men pivot and freeze but with a smooth jerk of the head and neck with their arms up, sleepwalker-style, then they fall. No fear, just cool. No confusion, just inevitability.
© The New York Times
