In residency in November from 7 to 22, 2013
Exactly which battle shall we imagine in synopsis?
There are many possibilities, since most of the creations of Etienne Guilloteau are created in lengthy periods of reading, research and experimentation. Cy Twombly’s painting, whose title the choreographer has borrowed, does not give us many clues either. Is it a mental map of an inner war, an impossible equation which has mystified a scholar throughout his entire life, or the chaotic representation of an off-the-wall military strategy? Perhaps the battle in question has neither beginning nor end, nor identifiable players ... except perhaps the artists and thinkers who have always resisted vacuity and nothingness.
It is conceivable that Socrates was part of this, in his dialogues with Plato, or Erik Satie, who wrote a symphonic drama using the name of the philosopher, or John Cage and Merce Cunningham who, when they were denied the right to use Satie’s music, caressed it without using it, as it were. It is a battle in relays and ricochets whose depth and complexity do not overwhelm the stage, creating more an environment which does not require deciphering.
Two dancers meet here, Etienne Guilloteau himself and Claire Croizé, accomplices or adversaries, whose simultaneous presence evokes love without making it figurative. And love is part of the synopsis of an opera which the choreographer plans to present.
With the musician Alain Franco, he creates a composer’s score, borrowing from 20th century music as well as its philosophy and poetry.
— Etienne Guilloteau
Originally from Poitiers, Etienne Guilloteau trained at the school of Anne Teresa De Keersmaeker, PARTS, then founded the collective Action Scénique in Brussels with Claire Croizé and Nada Gambier.
He is interested in the relationships between dance, lighting and music, using significant quantities of 20th century music, from Claude Debussy to Pierre Boulez and including John Cage and Erik Satie.