Canard ou Cygne
Except the movement composition games, probably stashed away in boxes, and from a very distant childhood, it is her first finished choreographic essay.
Simple reflexion, strongly inspired by autobiographic experiences, it concerns the decisions taken by each one on their life way and the determination that push us to follow intuitively the roads that look obstructed at a first glance. Finally, the way is nothing more than the progressive taking of conscience, through experience, of an intuitive dream sufficiently powerful to not let the obstacles nor the words from others lose it from sight. This thought is not the research or the illustration of a result, but the contemplation, the recognition of the adventure and the richness which characterises the whole way. From here, we accept, or rather, we appreciate the fact of ignoring the destination, we relegate it to the line of dream and we use it to continue going forward while we savour each moment of the road. This only fills it with beauty…
This second choreographic exploration follows closely the first one.
Inscribed in the same line of concern, the investigation around movement is in first place focused towards the sincerity of discourse. Conscious of her youth, ignorance and ingenuity, the choreographer (if can already be called as such) doesn’t try to enter worlds she has not experienced, rather she lets herself be guided by her obsessions, which can be summarised in movement. In a small or big scale, in varied timescales, this is what pushes her in her explorations of the movement and her motivation for her “expeditions” over the world. This is what appeases the immobile and unstopped rotation of her thoughts and what canalises her sharp sensations of her surrounding universe.
Between memory and dreams, recalls and wishes, she builds a journey, that could be located in both the interpret and the audience’s imagination… A journey which becomes infinite, as well as the roads that it takes.
Who has not had the feeling of an extreme solitude… Who has never suffered to be alone… Who has not wished to be alone with oneself… Who has never has the feeling of being alone, different, among so many others… Who has never dreamed of being alone in the world… Who has never preferred being alone rather than in bad company… Who has never longed for a little bit of solitude… Who has never been afraid of ending up alone… Who has never been better served than by oneself… Who has never apprehended solitude… Who has ever been truly alone?
The solitude is not more than a status or a recurrent wish of status. The world is inhabited by the accumulation of a multitude of solitudes. The solitude is one of the most human sentiments, certainly one of the most collectively and universally shared.
Playing between biography and fiction, this short piece is the first incursion (and still currently one of the few…) of the choreographer in the world of words accompanying the movement, the words of a poem rewritten form an excerpt of the book “Vous dansez?”, by Marie Nimier.
SOLO is a short piece built from different elements still unexperienced then by the dancer. She then decides to unite them, without other reasons nor dramatic justifications than the curiosity of their passing exploration through movement. This is how the three acts, or scenes, of this solo have been created.
The first part is a dance of hands and voice. While singing a cappella Mistral Gagnant, the hands come to draw the words, through a lost language between signs and movements. The second is built on the exploration of a motive, repeated and developed, transferred and amplified, constructed from the music selected in itself for the constitutive motive. The third is a game around the shadow and the duality that it shapes with the body. Playing with the light and video, the body splits and meets itself through movement.
Having an atypical way on the choreographer’s working style, we can already find in SOLO a gestural aesthetic which will characterise her every time more.
Je suis toute seule...
Juliette’s first choreographic essays, first composition games, some of them created when she was very young. Small short pieces, mainly solos or duos, more or less abstract, thematic or autobiographic, they are first thoughts about movement, first researches of writing, with shape and style all quite different.
After various solo experiences, and many composition games of movement, Oups!... is the first written and interpreted duo by the choreographer, on demand and with the collaboration of the dancer Amélie Ségarra. Between obsession and self-mockery, this short piece explores the research process characteristic of each one’s road.
From the earliest childhood till the pinnacle of our existence, we do no more than searching. We look for our way, in the middle of the infinity of possibilities that are given to us. Do we search for it or do we draw it by ourselves? Whichever the answer, we try to find ourselves along the way.
Inspired again by autobiographic facts and pursuing the idea of putting into evidence the differences between the two interprets, this composition is built as a portrait in movement, where a body is the shadow, the subconscious of the other, animated by a music composed by Nacho Villar and inspired on a text written for the occasion.
A reflexion over the time and its relativity. Time doesn’t depend on what we do. The quality of its duration depends on how we perceive it. It also depends on the considered scale and value that we give to it. It may seem a stereotype or an evidence, but if we are aware of each second, each moment, and if we use it well with attention and intention, the time does not “taste” the same. To live in the present… without devaluating the memory of the past nor the projection of future.
Simply to not let time goes by, but habit it. The notion of a minute takes then another meaning.
From the imposed challenge of making a short minute piece, Juliette Louste has decided to make a minute long piece about the minute… This is how the first version is born, on “La dernière minute” by Carla Bruni. Later on appeared other versions and essays that were on a way, the first experience of the series, followed by the projects 365 temes i 52 variacions, 2 0 1 4, or -2—0-1—5-.
Oups!... (je cherche)
Children's Song nº6
Setting a new step on the musical and choreographic work, this duo is the first piece that puts on stage a jazz music theme, selected among those of the pianist Chick Corea. Written in collaboration with the dancer Olga Santín, Juliette exposes her first researches on this narrow relationship between the structure and the constitutive elements of jazz music and its spatial, temporal and corporal translation through movement. The composition, meticulously built, creates a constant echo between the musical and gestural languages. Without a pre-established dramaturgy, the story is drawn along the scripture of the piece and the evolution of the two interprets, visual illustration of the different musical details, through the gestural characteristics of each dancer. The viewer’s imagination is then free in the interpretation of this sound and visual journey. Focusing on the meeting of these two languages, the stage is stripped of all element other than the two bodies in movement, creating this first essay’s aesthetic.