Creations

By listening to the space of my life shatter, bend, by watching it separate then reassemble, I have felt its cracks, its points of friction. I have felt it bright and knocking. I have passed very often, like all of us, from one place to another, from one space to the other. Have I taken the time to take things into account and to take charge? With "Hom E", I did not want to invent spaces, still less to reinvent them. I simply wished to question them, to read them. I refused the one-dimensional. I have looked for the fusion of the abstract and the concrete. "Hom E" is a piece which ponders our banality. The banality that is not obvious but blurred. "Hom E" is the family home, the house which evokes a glimmer of memories, illuminating the marriage of the immemorable and the memorable. It is the solidarity of the memory and of the imagination. Gaston Bachelard said : “When in the new house, memories of old residences come back, we journey to the land of childhood.” I have therefore created moments of happiness and through dance, I wished to touch the poetic content of the space of the house, the space of our lives. The house allows us to dream in peace and to suffer less from the love that we no longer know how to give ourselves, of the differences from which we no longer know how to enrich ourselves, of the differences that we no longer even know how to tolerate. I wanted to picture some memories and transform them into dreams, to propose to everyone to feel the effects of the past in order to live infinitely the imperishable present. The homeless man would be a scattered being. The home keeps us sheltered from the thunderstorms of the sky and very often, from the thunderstorms of life. It is body and soul. Philippe Tréhet Reflections on modern man trapped in a consuming society, which is influenced even more by the “spontaneous” representations of his acts, are turned at each moment to the more intimate of his gestures, to his words, to his behaviour. "Hom E" questions the difficulties of having an authentic relationship with oneself and with other people in this day and age. The piece plunges us into a world at once poetic and realistic, brimming over with humanity in which the individuals, without looking to escape completely from their social destiny (that which would be illusive) simply attach themselves to one another, to reconsider their living space, to push back the walls, to assert in an uninterrupted game of decompartmentalizing - recompartmentalizing, that the time of reunion has come. It is in playing with the disorder of the space of our familiar visibility that one creates a literally open place, a gaping place where an anatomical search will be continually conducted. The annihilation of our landmarks will bring to our attention, things that are unfamiliar and paradoxical. "Hom E" is a place constructed of the unforeseeable and of challenges to the common sense. The spectator will very rarely be led through this piece. He will have to take the responsibility of building for himself its suggestion. He will be obliged to deconstruct the work, to reconstruct his own vision. This process, in total breaking with my usual approach, constitutes, even before the writing of the choreography and the definition of its movement, the principle stake of this creation. The corporal work and the architectural research of the piece could be closely related, but the dance will be performed, most of the time, in a contrasting way, by privileging the natural, the instinctive, the humane. Philippe Tréhet