À l’infini

Lucinda Childs and Nacera Belaza have been pursuing the same type of relentless research over time, and have honed their hypnotic approaches to dance from piece to piece. Their shared darkness replete with repetitions and changes dull the audience’s perceptions. Concerto, a seminal piece by the great master of postmodern dance, is a virtuoso tour de force of complexity. The skilful intricacy of the lines, trajectories and geometric shapes fashioned by the performers is an embodiment of Henryk Górecki’s intoxicating concerto for harpsichord and strings. While Lucinda Childs’ dancers fashion the space, Nacera Belaza’s are encouraged to withdraw. Claiming nothingness and affirmed lack of training as her weapons, the most existentialist of French choreographers conquers new territories with this new production for the Lyon Opera Ballet, sharing the mystery that is the journey of bodies in the world. Alongside these two pieces, Noé Soulier’s Self Duet, “a pas de deux with oneself” as he puts it, explores similar themes: the line between the outside and the inner world, or between ourselves, others and the world around us.