Bistro (July 22, 1993)
MAIL OF THOUGHTS
I walk step by step, the heel exactly in the line of the point of my preceding foot, and I arrive at the solid mass of thoughts.
I had composed “loneliness transit” for Anne-Marie Reynaud, a one-hour and half ballet. Together with the whole company, we had worked on the development of the scenario, then I brought sounds and I saw Anne-Marie the choreography putting in space. It was perhaps the first time where I saw how the gestures were invented one after the other in front of me; I attended some-thing of very indiscreet.
Then I often came, I brought sequences and we advanced one and the other in a kind of mysterious synchronism made of mixture of collective and solitary moments. Thus I learned how to look at creating the dance, I saw it being done, how the ideas are connected, how they are superimposed, how one proposes them by speaking of.
It is quite obvious that I wanted more closely to deepen in choreography. Then I did it, as an amateur, but it is thanks to Anne-Marie if I had courage to do it. I said myself: there is just to make like she does.
Thus I asked a dancer to come to see me, I said “first you stay sitting during 5 minutes without moving, then you rise; 1,2,3, you move an arm, 4,5,6, you move a buttock”. And I showed her. Lastly, especially to remain sitted without moving. And that worked, we performed in Berlin.
I walk step by step, but there, I form a right angle to go to gather a fennel bit for aperitif.
Anne-Marie is very open-minded and very generous. She accepts that I intervene in fields, which are not my business. What enables me to dare to say all the silly things, which pass to me, on the lot there are some that are less stupid than others and we benefit from it.
I speak there about BISTRO.
We spent a few days all-together in Nevers to work from the morning to the evening. That was very cordial, in a scientist compromise between discipline and freedom, between rigour of the schedules and relaxation of time.
To discuss too. It is where freedom of speech seemed to me to be used like an instrument of work. The word without complex, which precisely makes it possible to reach with imagination through spontaneousness, without fear and reproach.
In Nevers, the company was hosted in a lodging, a large house at ten kilometers, lost in the countryside, between an arm of river and further, a pond, at the edge of a small road. We left a large table and chairs on the road and we dined while discussing, slackened, but also like a kind of normal continuation of work of the day.
One evening, the weather was cold (the dancers are really not sensitive to the cold) and each one lent clothing to me. I finished the evening with all the sweaters of the house.
The following day we made a fire on the road.
— Luc Ferrari
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