What I call oblivion

2012 Creation

Piece for 6 dancers and 1 actor
Text Laurent Mauvignier, Ce que j'appelle oubli
Choreography / Direction Angelin Preljocaj
Music 79D
Scenography and costumes Angelin Preljocaj
Lighting design Cécile Giovansili-Vissière
Narrator Laurent Cazanave
Assistant to the artistic direction Youri Van den Bosch
Choreologist Dany Lévêque
Dancers Aurélien Charrier, Fabrizio Clemente, Baptiste Coissieu, Carlos Ferreira Da Silva, Liam Warren, Nicolas Zemmour
Production Ballet Preljocaj
This performance is available in a version adapted for the hearing impaired (a sign language interpreter and actor signs the words of the actor on stage). The adaptations were produced at the Pavillon Noir Theatre (Aix-en-Provence) in December 2013 and at the Theatre Liberté (Toulon) in February 2014
Coproduction Biennale de la danse de Lyon, Théâtre de la Ville (Paris), Théâtre de Saint-Quentin-en-Yvelines
Duration 1h25
Premiered on 15 September 2012 at Biennale de la danse de Lyon (France)

Ce que j'appelle oubli by Laurent Mauvignier
2011, 64 pages, Éditions de Minuit

“When he entered the supermarket, he headed for the beer section. He opened a can and drank it. I don’t know what or whom he was thinking about while he was quenching his thirst. What I am sure of, though, is that between the moment when he arrived and when the guards stopped him, no one could have imagined that he wouldn’t get out.”

This story is based on a brief news item about an event that took place in Lyon in December 2009.

"I discovered Ce que j’appelle oubli by Laurent Mauvignier when it was published by Éditions de Minuit. The very form of the text fascinated me immediately. It consists of just one sentence, a long interminable sentence which links the interaction of bodies and the literary structure in a radical way. This materialisation of the flesh makes the text very sensual. It is inhabited corporally with very diverse textures: the aggressive, lively, violent body and the more lascivious, sensual, unwholesome, amorous body…

However the body is also a political one with Mauvignier. Several questions are asked and there is a profound reflection on exclusion, being on the margins, society and consumerism – all taking place in the silent dialogue between the bodies.

I thought that the dance could take possession of the subject by putting the story into perspective and deploying a choreographic writing which would be specific to it.
And obviously it will be necessary to make this text heard: it is extremely rough, uncompromising, in its inexorability, in its beauty and in its emotion.”

Angelin Preljocaj

Around the creation