Conception et choreography : Geisha Fontaine et Pierre Cottreau,
Music Composition : Francesco Filidei,
Dancers : Sophie Demeyer, Sylvain Riéjou, Bérangère Roussel, Agnieszka Sonia Ryszkiewicz, Raphaël Soleilhavoup,
Drummers : Benoît Bourlet, Victor Hanna, François-Marie Juskowiak, Benoît Maurin,
Lights : Arnaud Koseleff,
Conception and construction of stage : Charles-Edouard Maisonabe
Geisha Fontaine and Pierre Cottreau confront music and dance in a very specific approach where sounds are so theatrical and loud that dance has to assert itself.
Ne pas toucher aux oeuvres (Don’t Touch the Art) is a performance and a concert, a proposal to watch and to listen to. A group of five dancers and four musicians are gathered together on stage.
The dancers use their bodies as the musicians use very special instruments: fire weapons. The first ones dance and the other ones shoot. They are playing Missa super l’Homme armé, a bursting out musical composition. The performance announces a coming death on stage and refers to the violence in the world. But as violence is sometimes silent, the sound is slight and dance obstinate.
On that occasion, the composer Francesco Filidei created Missa super l’Homme armé, an astonishing partition. The composition refers to a famous Olivier Messiaen’s music: Messe de la Pentecôte (1950).
Ne pas toucher aux oeuvres (Don’t Touch the Art) asks the following questions: What is the place of art in the world today? What is the place of weapons in the world today?