Des magnifiques dissonances
Le Matin novembre 2000
The two solos that she interpreted (“Palnta Baja” & “Dame de Pic”) a masculine and feminine duet (“Glabelle”) which will be perform at the Theatre de l’Ancre in December from the 1st to the 16th as part of the Charleroi-Danses Festival, together with the “Petites pieces pour voix et gestes” de Fatou Traore, and a quartet for men “Negatovas”, Karine Ponties has imposed her clear/dark universe, solitary and tender, of place like a refreshing evidence among the different choreographers of the French Community in Belgium.
This evening as part of the performing bill of the Brussels 2000, she will present her new work in a perfect surrounding, the post-industrial stage of the Bottelarij. In “Brucelles” we fin her well known partner Mauro Paccagnella (the dancing brain of Un Oeuf is un Oeuf) Alessandro Bernardeschi (her partner in the duet version of “Glabelle”) both also brilliant and seen in the sombre and lost in the desert of “Negatovas” performance, also Jean Fürst (cie Mossoux/Bonté) multiple performer also with a vocal talent, is here wonderfully exploited as a performer in order to give us a kind of warm face slapping, in-between the high sounds coming out from the interesting sound track made electronically by Didier Casamitjana. Together with the above-mentioned, not to be neglected the participation of Juan Benitez and Eric Domeneghetty, with the only woman on stage the wonderful Cecile Loyer. Impossible to try and describe the conducting line of this latest piece neither possible is to define the rolls they are playing. Karine Ponties has mastered again in this creation a nettled interaction, mixture of strong and fugitive personalities, refusing to deny and close the door of a poetic and humoristic treatment. The dance is precise and inventive; no contemporary cliché in Ponties works, being her also an experimented performer, always attentive. She captivates our sight, finding always some disturbing elements, making us being forced to concentrate and not loose it. “Brucelles” defined in the dictionary as the thin hair pins used to hold it up with precision. A notion perfectly related to the microcosmic, poetical, pictorial choreographic trajectory of this piece, where –as said before- the humoristic approach enables the characters –servers of an imaginary restaurant not controlled by the Maître – to play their contradictory parts.
“There is a estrange intensity in this micro-observation” says the choreographer in an interview, “what I’m looking for in those details, is the very human”. And she did it, she has reached the very subject, like the best achieved collective work (you should see it a few times in order to appreciate all those details) a formidable entomologist of magnificent dissonances.
(translated by Jordi Granados)