Gone. Eric Arnal-Burtschy. Michael Levy

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1 Gone Eric Arnal-Burtschy Michael Levy

2 THE TEAM CREATION interpretation TECHNICAL DIRECTOR light creation SOUND CREATION PRODUCTION TOURING Eric Arnal-Burtschy Eric Arnal-Burtschy (ongoing) Benoît Simon (ongoing) (ongoing) Stéphanie Pysson Lou Colombani KOMM'N'ACT Stéphanie Pysson CONTACTS Eric Arnal-Burtschy BC Pertendo PRODUCTION BELGIUM AND INTERNATIONAL Stéphanie Pysson (0) PRODUCTION FRANCE AND INTERNATIONAL Lou Colombani (0) Maxime Kottmann (0) KOMM'N'ACT office +33 (0)

3 INTENTION Gone A history of nature The story of a world where living beings were made up of two thirds of air, ceaselessly mixed with tens of millions of other organisms, living in symbiosis and able to summon within them places and times that did not exist. A wonderfully splendid world, where no being was ever alone, shown under such a different angle that he will seem foreign to it for long. A world where our bodies mingled with the living and moved through matter, becoming present simultaneously here and elsewhere. A world that is still ours but will be told in the past tense, as an echo to the fragility of all those who disappeared after being alive and now rest on the Universe. Basis of the project Scientific research and notably physics are very inspirational in my work: they raise a metaphysical perspective (nature of space for instance) through concrete objects. The project Gone is based on research in physics, environmentalism and matter sciences so as to better understand the nature of the latter and the symbiosis relation that living organisms have with one another as well as with the world they are in. This project is part of a broader research on how context shapes our perception, which I lead at the astrophysics department of the university of Texas, Austin and with the VORTEX team (artificial life) of the university of Toulouse. Nature of the project Gone is made up of a text combined with sound and movement, with a strong connection with the body and room for writing space and light. The scientific basis is treated poetically and does not appear directly to the audience. The place of the audience (position, relation to other people, presence in the space) will be a key element of the project. 3

4 Text and sound The text is worked on as a flexible and living moving body with accelerations and pauses. At times it will be backed up by a beat and a bass line or a simple melody so as to stress the flexibility, give it rhythm and new impetus and dynamics. The text material is directly written on stage, with speech and the body. Simply, it will conjure up poetic images while being an everyday life oral language. The sounds will be thrown directly from the stage via pedals lying on the ground and probably hand or foot-activated. Space The relation to light and visual dimension are important for this project. They are both very written and choreographed, in line with Deep are the Woods where the performer is the only light which sets space in motion and makes it vibrate. The stage will be covered by bright landscapes giving depth and a background. We can refer to James Thurell or Olafur Eliasson's work. Body Text and body commingle, indifferently taking over each other as an extension before stepping down again. Thus escaping movements spring sometimes at length before the body blends in with the text again. This body is very written, in its gestures as well as its attitude and movements. Text and body are sometimes still, making room for the light, sound and landscapes. 4

5 biography Eric Arnal Burtschy followed a course in history, philosophy and geopolitics before moving to the performing and visual arts. His work is often based on research about the physics of the Universe and a questioning of the human. He created with Lyllie Rouvière Bouncing Universe in a Bulk, a diptych about infinity and emptiness created, before to present Ciguë with Clara Furey, a solo on freedom and loneliness. His last work, Deep are the Woods, is an evocation of the vacuum by the writing of the light. He is associate artist of Les Halles de Schaerbeek in Brussels until 2018 and artist in residence at the Théâtre de Vanves and in L L. ON TOUR DEEP ARE THE WOODS De Werf, Bruges (Belgium) / 2017 De Grote Post, Ostende (Belgium) /2017 Festival Pharenheit, Le Havre (France) / 31 Jan.-4 Feb Artefact, STUK Kunstencentrum, Leuven (Belgium) / 24 Feb.-4 Mar Stormopkomst, Turnhout (Belgium) / Mar Cultuurcentrum, Berchem (Belgium) / Mar Le Carré Les Colonnes, Bordeaux (France) / Oct Artissima, Turin (Italia) / Nov CDC Le Gymnase, Roubaix (France) / Dec SouthBankCenter, London / Halles de Schaerbeek, Bruxelles / 14 Oct.-5 Nov Festival actoral, FRAC PACA, Marseille (France) / 29 Sept.-2 Oct Festival Artdanthé, Théâtre de Vanves (France) / 18 Mar.-21 Mar Nemo, International Biennale of Digital Arts, MAC de Créteil (France) / 7 Janv Étape de travail - Wolubilis, Bruxelles /26-27 Sept

6 DEEP ARE THE WOODS Deep are the Woods is an immersive show from which the interpreter is the light. It surrounds, caresses, its movement gives substance to the emptiness and inhabits it with intangible presence. It is a cathedral without walls of which only the inner vibes would have been kept, an invitation to extend by the immaterial our perception of the world. Bara Srpkova "The show of the digital season" Catherine Makereel - Le Soir "One of the must-see this season" RTBF Cultural chronics "Deep are the Woods, between quest of transcendance and questionning about infinity" Estelle Spoto, Le Vif - L'Express "Deep are Woods explores the light in a fascinating, spectacular, immersive and experimental way" Sylvia Botella - L'écho "A very rare experience of the light, which would behave here like a dancing body in the space." Gérard Mayen - Mouvement 6

7 Ciguë Ciguë is an experience of spectator as much as a spectacle. Over a period of several hours, this proposal with Clara Furey is composed of a living body as well as a light and a sound approach like landscapes, the public entering and leaving freely. Like really looking at a wild, free, inaccessible and yet human being - with what the human suggests as possible interactions - while being free as a spectator to look at the time that one desires. Something that fascinates, gives rise to a rather primitive sensation, questions its own relation to the other and to time and gives desire to be free. Laurent Paillier "Brutal image of a fatal loneliness, with a few cries of animals escaping from a barely loosened throat, the performance rested on an inexhaustible march like the need for freedom, to the closest to the public that the dancer brushed in her travels, blind, to take refuge, recluse, in a corner of his stage cage." Marie-Christine Vernay, Libération, 1er avril "Eric Arnal-Burtschy at the height of elegance." Amélie Blaustein-Niddam, 27 mars 2014

8 Bouncing Universe in a Bulk & 2013 Bouncing Universe in a Bulk is a work addressing the notions of void and infinity: this dizzying place, so vast it is ungraspable and which will always inherently surpass us. An opaque black liquid creates continuity between the body and its environment; it creates a place which cannot be contained, which you can have no hold over, it has no limit and no gravity. The matter itself can embrace all forms. As a whole it simultaneously represents the origin and the future, surpassing both time and death and yet where life set in. Laurent Paillier "A spectacular creation based on the senses." Marie-Pierre Genecand - Le Temps "The universe [...] of this self-taught choreographer comes to possess us." Nathalie Yokel - La Terrasse "Eric Arnal-Burtschy dances the infinite. [...] That is genius." Amélie Blaustein-Niddam - Toutelaculture.com "Those who have had the chance to see this spectacle as atypical as crazy [...] will always remember it." J.M. Gourreau - Critiphotodanse "A magnificent dance show, a visual experience." Hélène Genève - Ron Orp 8 "A writing that fuses visual and living arts." Marie-Juliette Verga - Parisart

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