French Premiere

December 08 + 09, 2015, Comédie de Saint-Étienne

International Premiere

March 20, 2016, Belgrade Dance Festival, Serbia

Tour calendar

December 08 + 09 Comédie de Saint-Étienne (France)

January 13 Théâtre d'Aurillac (France)
March 20 Belgrade (Serbia), Belgrade Dance Festival
March 20 + 31 Le 104, Paris (France) within Séquence Danse Paris 2016
September 20 + 21 Les Subsistances, Lyon (France), within the Biennale de la danse de Lyon
October 13 Plovdiv (Bulgaria), One Dance Week festival
October 18 Les Treize Arches, Scène Conventionnée de Brive (France)

January 19 Opéra de Dijon (France), within Art Danse festival of CDC Dijon-Bourgogne
January 24 + 25 Centre Chorégraphique National de Rillieux-la-Pape (France)
March 22 Centres culturels Municipaux de Limoges (France)
22 novembre Centre Culturel de Bergerac (France), within Les Eclats Chorégraphiques festival

March 21 La Manufacture, CDCN Bordeaux Aquitaine (France)
May 5 Le carreau, Scène Nationale de Forbach (Germany), within Tranzfestival Saar à Saarbrücken

Press clips :

"With Are friends electric? the director of CCN de Rillieux-la-Pape, moves into an entirely new realm of dance, creating a powerful, unusual piece about the elasticity of space and the body, as well as the experience of living together."
Danser Canal Historique - Sophie Lesort - Dec 15

"Mission accomplished: Kraftwerk's music becomes tangible through these experts in the electricity of muscles. Our hearts beat with theirs. Bravo." 
491 - Florence Roux Dec 15

Are friends electric
On this project I wanted to work with a piece of pre-existing music, with a pop dimension, which would awaken our collective memories. I chose to explore the sound and the universe of the German group Kraftwerk, in particular the period from 1974 to 1981, during which they released Autobahn, Radioactivität, Trans Europa Express and ComputerweltThese albums had a mostly analog sound and repetitive rhythms which remind me of heartbeats, breathing, walking, a trance state, a musical gesture on a human scale.
I saw this part of their journey as the beginning of a new European romanticism,
which offers a different perspective of Man’s relationship to his environment. The nineteenth century ideal of Man and nature was replaced by a new affirmation positing the survival of Man in an urbanized, mechanized environment.
While exploring Kraftwerk’s “black box,” I found a number of intriguing elements I wanted to integrate into my research. There is a reference to Franz Schubert in Trans Europa Express, which led me to explore his lieder, with their romantic, traditional imagery.

And for my choreographic research, I chose to explore a specific physical action: torsion, which is both an organic and an essential action involving bone marrow, the skeleton, and physical memory. It was a significant part of the development of the work’s movement with the dancers.  
The driving rhythm of Kraftwerk’s music was also a way inside the choreographic material. The sound loops, their cyclical composition and the variations in amplification helped us to reveal their deeper intentions. I also wove into my research the spatial trajectories of traditional European dances such as the minuet, which implements a codified way of meeting with its formally ordered series of approaches and separations. While working with these elements, I created frictions which then allowed me to create a complex, polarized space, structured by tensions.  

Are friends electric? reflects my preoccupation with the ambiguity which pervades the idea of the communal. Hyper-individualities, a deep need for collective belonging – how do we survive in a contemporary, polarized space?