Duet

The dance company 7273 has a gift for clever titles, deceptively naïve. A simple proposition, after all, doesn't commit to anything.
However, whether true or false, one must take it or leave it. The dilemma begins, the simplicity disappears and in seeps the poison of doubt : is there an agreement at the end of this proposition? Is there an end? Nothing is less certain.
The haphazard character of the proposition is precisely what the company 7273 has taken on. It's ontological fragility. It proves nothing : "proof tires the truth" (Braque). It contents itself with its mere possibility, its admissability. For it maintains a relationship with the truth, with this awaited agreement; a partial relationship, fragmentary, part of an original whole which must be pieced together. Thus, the propositions are strung together, connected according to an imperative order meant to give the object its form, its raison d'être. But the newfound order's resolution is inevitably side stepped. The company 7273 exhausts its nostalgia for an outcome : there is no salvation on the horizon, only, as Francis Ponge would say, expression's rage. 

The colour is announced : black on yellow ; it's written in full across the t-shirts they have donned : one duet, one/a duet. That's what they are, that's what they do. It could all end there, so propitious is the word "duet" to a tautological definition : a duet is done by two. And that says it all.
It's just that to be two is only ever preliminary, a condition which serves an intention, a proposition, for which the metallurgic sense of the word "duet" -a two-cylinder rolling mill- supplies the premises : "a machine used to reduce the section of a product by running it through two cylinders" (Larousse).
A duet, in metallurgy, is a refining tool, which wears the product down to its simplest expression, a machine which tells no tales, a machine for forgetting origins.
Simple Proposition, simple as in separate, shapes the form of the duo with the same mechanical concern : it carries out a succession of gestures, poses, images, sectioned, sampled, isolated from the economy of movement, from its flow, deprived of immediate causality, out of context. Broken down, cut up : divergent practice related to that of a fetichisme which plunges into the part rather than the whole. Vertigo of a temporal ellipse which reveals pieces of the invisible, intermediate and untenable states, theoretically subject to the tyranny of form : "One must break up the universe, lose respect for all things" (Nietzsche).
It remains that, if not nullified upon being unearthed, the crumbs, scraps, sections, and fragments end up forming an ensemble, an order, a script. In the time re established by the performance are written the gestures of two dancers grappling with their position : each one searching for his place, each one stumbling, coming together and coming undone against the limits of the stage, each one testing himself against the magnetic power of the floor, each one gravitating around the orbit of the other, which remains unattainable...each one desires the duet.

Graziella Jouan

Translation Jennifer Bonn

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Creation - 2004
Duration 50'
Choreography , Cast , Concept:
Laurence Yadi, Nicolas Cantillon
Music:
Eric Linder
Light creation:
Daniel Demont
Artistic collaboration:
Daniel Demont, Edouard Levé et João Fiadeiro
Production:
Compagnie 7273 (CH - FR)
Coproducers:
Château Rouge à Annemasse (FR) et Villa Bernasconi à Lancy (CH)
Financial support:
City of Geneva, DRAC Rhône-Alpes, Pro Helvetia – Swiss Arts Council, Fondation Nestlé pour l’Art, Stanley Thomas Johnson Foundation, Fonds Mécénat SIG and Schweizerische Interpreten-Stiftung
Residencies of creation:
O Espaço do Tempo – - Rui Horta (P), Château Rouge (FR) et ADC, Arsenic, Flux Laboratory, Théâtre de l’Usine (CH)
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