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- Where are you from?
- I come from France, where i develop differents collaborations, with musicians, visual artists....
The roots of the dance's word is "TANZ", just a "TENSION",
movment and emotion....
- What is your interest in The Future is On the Table?
- I participate at the future is on the table after a meeting with the Delphine Ziegler. I develop a work with ice since 2004 with Emilie Salquebre and its with this part of my dance's works that i come for this collaborations. We stay three weeks with Delphine Ziegler to develop an installation and an exhibition (dance music and installation) in situ. A travel....
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dimanche 30 août 08 gift exchange .doc
Posted on September 5, 2008 at 2:21pm —
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Thank you for sending this along. I hope your performance went well. My email is ruby.thorkelson@gmail.com. I look forward to getting mail from you! Glad you are doing well back home.
Besos, Ruby
talk to you soon
I hope you are doing well over in your homeland. Things here aren't the same without you and your other collaborators! Can you please tell me your email that you prefered for the catologue? I unfortunately misplaced the postcard you gave me... hopefully it will turn up. And I'll see what I can do!
Best, Ruby
Darryl here. Hope you made it back to France safely. I remember: You asked me once what I thought of your performance. I told you it was great, but I thought I’d provide you with a better answer. Below you’ll find – reproduced exactly – the notes I made Sunday afternoon after you danced for us. I’ll leave my commentary at that. Be well. Yours, Darryl
Aurore’s dancing ( the word seems reductive) is bewitching.
Aurore is an incredibly physically courageous person who combines dance (that awkward word again) and elements of mime, with a highly developed sense of drama.
I have seen her perform three times. Each time was different. Each time was an original show. The change in her costume, her props, and the landscape provided the impetus for a new voice, scenario, a style, if you will.
It’s true. She has a bewitching style. I do not generally have strong opinions about dance, but I have seen many, many dance performances at Spoleto and usually – even with very slick and professional companies – at a certain point I lose interest in the false, artificial motions of human bodies and their desperate attempt to match or outperform the rush and rhythms of the music. It’s a noble effort, I think, but futile. The music flies and ascends, liberated from the constraints of the flesh. The dancers are merely human, and they’re swamped, they can’t keep up. The music eventually starts to emphasize their human inadequacies.
I seem to have happened upon a great exception. With Aurore, there’s no question of this fierce energy and charisma becoming diminished. Not much chance of that. It always seems to me that the music is lagging slightly behind her, and sort of rushing to stay in the show. The notes are her vassals, so to speak, servile and functional, and kept busy providing the dancer with food and wine.