La chorégraphie est portée par quatre danseurs d’origines et de vocabulaires très différents. Anne Van Aerschot
With "Il Cimento dell’Armonia e dell’Inventione", which she co-signed with Radouan Mriziga, Anne Teresa de Keersmaeker, THE great lady of contemporary European dance, collette with the classic hit par excellence: "The four seasons" by Vivaldi. With a touch of humor, a few tricks, rants and a constant concern for climate change.
We did not necessarily expect Anne Teresa de Keersmaeker, THE great lady of contemporary European dance, on a score as polished, as busy, as music-d’attentive, as The four seasons by Vivaldi. But we underestimated the extent to which this powerfully fiddle-like ode to nature resonates with the artist's concern about climate change. In addition, the choreography which co-signed for the second once a creation with Radouan Mriziga (after 3ird5 @ w9rk), found here again the opportunity to continue his companionship with the violinist Amandine Beyer and her ensemble Gil Incogniti after Six Brandenburg concertos and Mystery sonatas .
Four seasons, four dancers
The four seasons respond to four dancers who do not necessarily embody them but who, through their different origins, their opposing styles, their singular techniques, obviously have something to tell us about our nature as much as about our nature. nbsp;company. But in the prologue, it is the scenography that speaks to us: in the distance, in the courtyard and in the garden, are fixed alignments of neon lights which, in the darkness, flash at a random rhythm, white lightning in the heart of a silent night.
Soon another neon light, orange, on the room side, will faintly illuminate the stage where a first dancer is snorting. Long basketball shorts, light fishnet top, her outfit offers a note of modernity which is complemented by the arrival of other dancers, of different ages, cultures and body expressions.
There is no more season?
If at the beginning the extremely famous score seems to be kept at a distance, and perhaps in respect, being heard in snatches, by suspicion. As the piece progresses, nature regains its rights, even when turned upside down, and Vivaldi regains authority over dance. The first silent, as if disorderly, evolutions, specific to each dancer, are followed by harmonized impulses, outstretched arms, bent bodies, jumps, while a few emblematic movements are heard, even though their order is disrupted… There is no more season?
Winter, spring, summer turned upside down, and yet… the power of the composition is such that it breathes, that it inspires, and soon the dancers draw, through their perpetual and rigorous march, the flattened eight of the symbol of the ;rsquo;mathematical infinity. Or go into pivots and turns as if pushed by the elements. Or to alternate between jumps and tops as a pure illustration of the construction of the composition, mixing pulsations and sensations, rhythms and melodies…
Mischievously, the choreography also operates through breaks in tone through the seasonal addition of pantomime gestures, references to spring sowing, the summer invasion of mosquitoes, traditional festivals, fall hunts, winter slides… but also sounds of animals, birds, dogs… hellip; It also tempers the somewhat stiff rigor of the repeated, exhausted movements, with the counterpoint of the solos, always very personal to the dancers, expressive and therefore surprisingly touching…hellip;< /p>
She even dares to be frankly funny when two dancers reproduce the tremors of a Vivaldian winter tune just by their beating feet and clapping their hands! Furthermore, Il cemento dell’armonia e dell’inventione goes beyond logic, or one could say tetralogic, starting again for  ;a new year with a new autumn, a new winter, a new spring, and the enthusiasm that goes with it. And the spectacle ends with a poem by Asmaa Jama, We, the salvage which completes the loop between the universality of the Four seasons and the news of their deregulation. And despite everything, beauty as witness, and the hope of resilience.