It's a mix between the desire to surpass oneself and the simple pleasure of dancing.

I like to start from the known bases of dance, and in this case gymnastics too, their very clear curves, to divert them, deconstruct them into somewhat singular movements, a kind of rupture. It's like a bodily method of letting go, of spontaneity. Improvisation is very important in the development of my vocabulary. It's the energy that creates the movements, movements that are intended to be offbeat, surprising and naturally derisive. I like to explore the way in which this energy progresses, making visible and imperceptible choices to build up to a climax.

I'm interested in the very physical aspect of a performance, I see in it generosity and a kind of playfulness. I want to create a particular aesthetic in which gender is irrelevant, an androgynous dance. The audience sees a performer, not especially a woman or a man.

I try to make mischievous proposals to create a personal approach to movement, but also to music, costume, set design and lighting.

Far from tragedy, the taste for drama is a race for joy. A desire for the immense. It's about adding poetry to life, no matter how simple, to make it more intense.

It's a small spark that will eventually set the stage on fire.

- Léa Dubois

Biography

Léa Dubois

In 2008, Léa Dubois graduated from the Royal Ballet School of Antwerp, where she received intensive training in classical and contemporary dance. Her first creative approaches were with choreographers Kudo Satoshi and Andy Deneys.

From 2009 to 2014, Léa worked in Holland and Germany with companies such as Dansgroep Amsterdam for Itzik Galili and Krisztina De Châtel, Dance Works Rotterdam, André Gingras and also with Nanine Linning, Sandra Marin Garcia, Zoran Markovic, Isabelle Chaffaud, ...

In 2014 she returned to Brussels to begin working with Ultima Vez, the company of Wim Vandekeybus for the revival of What The Body Does Not Remember.

Since 2016 she has danced at Rosas, Anne Teresa De Keersmaecker's company in pieces such as Rain, Rosas Danst Rosas, Achterland, Drumming.

At present, she continues to work as a freelancer with the Rosas company and smaller structures such as the production of a show with Laura Bachmann or with the Théâtre de la Gimbarde. In addition to this, Léa is also starting to think about her personal work.

More information on the Cie Les Halles de Schaerbeek website.