At the outset, drawing meets dance, ink meets body. Timeless bodily states follow, sharing the stage with other presences, among them music and an echo; light and dark matter. From this emerges a woman and her multiple inner selves: insectoid, grotesque, divine, combative, broken, fragile. Brutalis immerses us in an inner world at once intimate and organic, where the lone body conjures up the accelerated evolution of the human race, and where the body is a landscape of dust, bones and skin. RAW.
“With detached extravagance and with no fear for the ugly or the grotesque Karine Ponties crushes and deforms herself, bringing a paradoxical creature into being, all bone and rubber, whose apparent dryness conceals marvels of elasticity”. Le Monde, Rosita Boisseau
Brutalis received the SACD prize for choreographic creation in 2002.
Feet on the ground and head in the clouds, between which lies a body. The body thinks with its hands, builds with its head, little by little. The skin would like to turn inside out and tries. Tired of being on top, the head leans forward and shrouds itself in darkness. Love leaves the head and the head resigns itself to remembering the source.
(…) We are all creatures of an inner labyrinth – the battle we wage, we wage between our selves. Every individual is the bearer of inner multiplicities and virtual personalities; of an infinite array of imaginary characters; of a poly-existence in the real and the imagined, in sleep and wakefulness, in obedience and transgression, in what is conspicuous and what is secret; of a larval teeming in fathomless caverns and chasms (…).
(…) in continually descending walls covered with childish graffiti, we reach a silent sanctuary where a small idol dwells – blind, sovereign andindifferent (…).
The issue of the subject is dissolved in a play on the subject. Identity is a field of disasters, while humour is a means of defusing the gravitas of the statement, of suspending it.