"It is necessary to paint, not to make a work of art but to know until where a work of art can go".
Let us start by regulating ones account with the rabbit of the title.
One will seek vainly here the fluffy expensive silhouette with our imaginary childish and our informed papillae. It is a performance "without animals" that Compagnie 7273 invites us to. Nothing anthropomorphic in this vision ; this “Bugs Bunny” belongs rather to a presupposition, a pretext to the formulation of a point of view on dance. Let us imagine this rabbit as a rhetoric process which defines a stake : the laboratory rabbit is the support of an experiment which aims at producing a result.
It guarantees the possibility of the lucky find, it is the obliged passage.
And it thus achieves its ambitious destiny by paying the full price. Because, in a hilarious scene, as addition to a true declaration of intent, Nicolas Cantillon affirms this need for a "price to pay" so that a little beauty occurs ; accidents, breakdowns, failures, short-circuits become the lexicon of grace. Understand this word without grandiloquence, nor insipidity but like a tension adapting to remain irresolute: "To be modern, is to know what is not possible any more "(Roland Barthes).
Creation confronted with its definition, with its limits? The question is not new.
Remains "the factory of pre", what comes before and which is individual to each of us.
"The work of art lies at the base of the first genesis, one never seizes it simply like a product".
Compagnie 7273 reveals this impure field of the history before history, choreographic writing inventing its genesis, dancers testing themselves with the risk of a dead end.
La vision du lapin is given to be seen like a draft, a state of creation, a building site which authorizes its inauguration: confusion enters the space of the auditorium and that of the stage, indecision of the time of the representation : when it starts, did it really already start?
The performance assigns to the spectators an unusual place: taking part in, filmed by a video camera, visible on the screen, and therefore on stage, the spectator is recovered, with its defending body, used as substance to the creation.
The video camera is the center piece of this set up: an inseparable tool of the dancer in rehearsal (instrument of controlling themselves) and a scenographical element of the performance, filming the spectator who sees himself looking, it does not finish sapping the base of a comforting unit: it dislocates the performance by multiplication of the plans and the points of view.
They dance nevertheless, but the performance, mined from within, by the slag, misadventures, idle periods, slow downs and repetitions which prevent the crystallization of a significance. Without forgetting the silences, the silences of the speech that Laurence Yadi twice is on the point of saying to the microphone and which are abandoned in a posture.
Obstructed perception: flies in front of our eyes, occupied to gather the scattered pieces of the performance; driving them out with the back of our hand and here we are, on the edge of falling from the scaffolding.
Flies which seem to form the narrow grid of the soundscape created by Polar.
To look at the objects of near, they end up acquiring the benefit of a strangeness; this music generated by a familiar sound turns to a new category, mutating: the spectator identifies the humming of insects but this tonality, stripped of any illustrative intention, result of data-processing operations, combined and reformulated, has especially the influence to structure space; it approaches closest to an original pulsation, premonitory : it prepares what’s coming.
An esthetics of disappointment.
Something took place: the video finale attests it; it is the image which validates reality, according to the principle of the video surveillance. Even if they played, nothing is played. All is to be done and to be restarted.
Not to fill, not to finish. As soon as the dance is likely to adhere to its correlation, as soon as we start to understand, a blow comes to wrinkle its surface. This refusal to close in the name of a salutary mistrust at the place of the argument and style (since it refers to the same thing) is the opposite of sterility. To face, to find a parade against the dissolvent power of "everything was already done", leading to a sensitive matter, trembling, conductor of the feasible, all of this is well worth a dance.
Translation : David Akuwe