Gameboy is born as a result of a 25 hours research workshop with Jean Jaurès university students in Toulouse in March 2016. Henceforth partially marked course, this performance is to re-explore and rebuild with new performers depending on meeting opportunities. Following Virginie Despentes’s word, men love talk about women … it prevents them from talking about them. This all-male dance project is an opportunity to ask ourselves how to think about the body and the male, how to think about manhood, his flesh, his skin and his presence. Beyond issues related to dance, the body deploys itself as a material with plastic properties. Gender is, we know, a construction business (social, political, cultural …). We will then make the male body a playground with extensive force, with its performances, its failures and its transformations. Gameboy is a physical “program”, a set of social roles as a “muscle protocol” to knock out and reinvent.

After a first step in Toulouse Sylvain Huc wishes to extend these investigations keeping most of the first participants in order to add some others, eager to test and question with their masculinities. A second step in Barcelona will continue and deepen these explorations. This laboratory # 2 will include outside participants from the first group. For another week, all participants will re-explore existing score to appropriate these physical and choreographic materials. The process is in itself a perspective of the existing project with the upcoming project. Indeed, new participants must endorse choreographic materials developed by other men. Similarly, the first ones will incorporate new proposals that will come from new participants. So the project itself as well as masculinities are moving and ever changing elements , such as new costumes or roles to explore. Henceforth we will use the concept of plasticity process as much as for bodies, roles, assertions, dramas, testimonies…

After a physical training and preparation of the body, the group will work with more or less directed improvisations. One of the main methods used by the group to explore the world of movement possibilities wil be improvisation. It is experienced as a tool to disconnect the body’s potential from the mind’s limitations. We are not talking about completely free improvisation, because a body that is set totally free tends to choose the easiest way out. It is, therefore, assisted improvisation, where tasks, rules and forces are imposed to break the dancers’ conditioning. We will “play” in all possible ways with identities either individually or collectively with the main rule to “stick with” the body above all. Going beyond the scale of the individual, we will also develop work on the group, on the “body” formed by the dancers together. If the exploration of the individual body leads to the expression of diversity (chaos), the group work creates cohesion, communication and connection (order). And that’s indeed what is interesting with our topic : circulating between intimate and social contexts. We will explore both with discipline and savagery: review and test our limits through practical experience using the difficulty , danger to develop strength , flexibility and softness. Playful and physical, our research process will end up with building a score. We will present it at the end of the week spent together.

Sylvain Huc was born in 1979. After studying History and Art History at university, he discovers contemporary dance in a way both unexpected and abrupt. In 2003 he hands in his last academic essay, a political-anthropological piece in Greek History on the subject of “bestiality, savagery and feminine sexuality in classical Greece”. He then enrolls with the CDC Toulouse (Center for Choreographic Development). At the CDC he studies under many instructors, some of which include Louise Burnes, Martin Kilvady, Cesc Gelabert, Frey Faust, Thierry Bae, Heddy Maalem and Boris Charmatz. He also meets Marco Berretini and Sylvain performs in his choreography “Old Movements for New Bodies”, a show Berretini created for the students of the CDC in 2004. From this moment forward Sylvain trains relentlessly, participating in many workshops including those of Ultima Vez, Mark Tompkins, Jacky and Denis Taffanel, Lloyd Newson, Gisèle Vienne and David Zambrano, to name a few. During this period he also collaborates with various companies and choreographers. With the Divergences Company he dances in most all of Richard Nadal’s choreographies between 2003 and 2009. He also meets Magali Milian and Romuald Luydlin (La Zampa) in 2005. With Coraline Lamaison, Sylvain performs in the “Rugby Project” (2007) and again works with her in 2012 on a project that explores the realm of emotions. He also dances under the choreographers Laura Scozzi, Alexandre Fernandez (Human Fair in 2011) and Hervé Taminiaux. Also during this time, he dances in several works with the collective “Le Petit Cowboy”, including “Back”, a film by Loran Chourrau, an artist with whom he still collaborates today. And in 2015 he joins the the Fighting Monkey Workshop with the Rootlessroot Company. As far back as 2010 Sylvain started creating his own choreographies in association with the Divergences Company and as of 2014 was named its artistic director. Besides his work as performer and choreographer, Sylvain Huc continually leads many workshops in association with universities and psychiatric institutions. He also regularly leads amateur workshops that explore creation, interpretation and improvisation.


Choreography: Sylvain Huc
Created with: Gauthier Autant, Enzo Bardy, Joseph Burdin, Xavier Gocel, Stefan Heinen, David Malan, Steven Nacolis, Emmanuel Rogez, Roberto Steck-Ibarra, Gustavo Adolfo Suarez Rios.
With: up to 15/20 performers



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