French Premiere

January 9 + 10 + 11 + 12, 2018 at Chaillot - Théâtre national de la Danse, Paris

International Premiere

October 19 + 20, 2018 at Suzanne Dellal Center, Tel Aviv, Israel
in the frame of the crossed year France-Israel

Tour calendar
January 9 + 10 + 11 + 12 at Chaillot - Théâtre national de la Danse, Paris (France)
March 24 Treize Arches, Scène conventionnée de Brive (France)
September 19 + 20 + 21 Théâtre National Populaire de Villeurbanne (France), Biennale de la danse de Lyon
September 29 KLAP, Maison pour la danse, Marseille (France)
October 12 Comédie de Saint-Étienne (France)
October 19 + 20 Suzanne Dellal Center, Tel Aviv (Israel) in the frame of the crossed year France-Israel
October 23 Youth Center, Beer Sheva (Israel) in the frame of the crossed year France-Israel
November 16 Freiburg Theater (Germany)

October 10 + 11 ENSATT (École Nationale Supérieure d'Arts et Techniques du Théâtre) de Lyon (France)
October 15 Le Quai, CDN of Angers (France)


May 13 + 14 in the frame of the festival French May (Hong Kong)
May 23 Théâtre de la compagnie de danse du Sichuan, Chengdu (China)

May French May Festival, Hong-Kong

Note of intent
The primary focus of my work is the idea of the collective, or group: how it forms, how individuals interact with it, what shared space it defines.  

In this piece, I want to examine the construction of the symbols that embody the feeling of belonging to a place or a human group. I’m intrigued by hymns, these songs that speak of a common origin or commitment to a cause.
I believe our identities are porous and heterogeneous. How can we create a common and shared symbol that brings all those singularities together? I want my work to confront that question and transcend it through the bodies and movement of the five dancers of the company. By transforming the human voice and the rhythms that we fabricate, I want to create something bigger than us, that reaches beyond ourselves.

The process spawns the convergence of two dynamics: sound, taking its source in the collective memory, and choreography, built on the exploration of the figure of the line, which is something I see as archaic. I want to convey the feeling of how individuals evolve in the line and how we maintain that line alive, our lifeline.  

Yuval Pick – November 2016