EXPERIENCE "HYDRE AT THE ROYAL MONASTERY OF BROU" AGAIN ON CULTURE BOX
Creation on July 2016 at the Royal Monastery of Brou for Monuments en mouvement #2
Yuval Pick sculpts time and space with such sensitivity and density that he renders it nearly material. With his fascination with the information contained in the body, the architecture of spaces and creating dialogues with acoustic materials, it seems almost a given that he would now be planning to confront his dancing with different spaces and venues.
At the Center for National Monuments' request, he created the project Hydre as part of the program called Monuments en mouvement #2.
The face-off was with an exceptional site, the Royal Monastery of Brou. Its spaces fascinated the choreographer, filling his imagination. They have brought him to confront in real time the successive accumulated temporal strata in both the cloisters and the church with the heightened sensitivity of the dancers. The question driving him is as explicit as it is simple: how to reveal the experiences in a place filled with memories – through danced movement and music?
Yuval Pick has planned for a three stage process, beginning in the first cloister, where three dancer welcome the audience in a performance which sets the movement against a sound score created specifically for the space. These dancers are transitional figures guiding the audience through the entire journey. Next, the audience is invited to enter the church, where there is a women’s duo where dance, music and the acoustic fine-tuning of the spaces are featured. The church becomes like a heart beating to the rhythm of the amplified sounds of the dancers’ breathing, an intensified space of poetic movement. Finally the journey is ending in the great cloister where the audience sees a piece dancing by the five dancers of the company, emphasizing the power of incarnation and their relationship with the living common space which is that cloister.
It brings about a change in one’s perception of the monument.
Yuval Pick’s choreographic action for this project is characterized by two essential dimensions: the verticality of the architectural lines and of religious life, and the horizontality of daily life and the wanderings of the audience and the dancers through the spaces.
This event is an invitation to audiences to sensorially re-organize what is real, and to feel the change in the architecture of these spaces.
This project was completely thought for being adaptable to different patrimonial places with a traditional or a modern architecture.