Press Reviews

From the first moments, one can only be impressed by the staging of this work : a real architect of space and lights, Philippe Tréhet uses the well known and reassuring world of the home and breaks it up, thanks to a décor in perpetual movement, into a symbolic place of deep reflection, questioning the nature of man and of human relationships. In each defined space, the dancers regard each other challengingly and appear to engage the space in a strangely intimate fight. The struggle reverberates like a search for oneself : one can only exist from the moment one acknowledges that others help us to build our own identity. Calling on gestures stemming from everyday life, Philippe Tréhet endeavours to show us the state of mankind in all its sincerity and fragility. A burst of life drives the ten dancers through a subtle mixture of ambiguity and emotion. They move about on a razors edge and live by the game that they institute, a moment of truth which enters into the depth of the affairs of life. ... Dorian Crétey, Patrice Leroy, Sergio Cruz and Nadia Debuf really come out of themselves, merging in the duos where they join to make only one, playing on the ambiguity of human relationships in order to disorientate us, fascinate us and finally we are made to think about our own inhibitions. They don’t look to the sky, they cling to the floor without romanticism, without embellishment, the body becoming a catapult of energy, full of common sense, almost childlike but above all communicative and capable of generating new possibilities among the dancers who have without doubt, gone through a metamorphosis during this adventure. ... With each creation, he draws his inspiration from numerous and everyday sources, from new paths to be explored, a new bet to be thrown, new limits to be exceeded. At the same time his language is very accessible and it is this which is its strength; the simple things are no doubt the more beautiful. The audience, which willingly identifies itself with the work, is not mistaken. Everyone can find a little of his house, of his memories and transform them into dreams. Everyone, at his own level, can feel the deep humanity of the choreographic language of Philippe Tréhet, reserving for him a deserved and fortified ovation in the field of young French choreography. Jérôme Frilley Tréhet has never ceased to maintain a personality, which places him among the leading group of young French choreographers, as we have seen from the results these past years. Absolutely independent, never claiming affiliation with any one side, escaping from all the ghettos, he manages to remain himself in a choreographic landscape where so many creators do no more than just copy one another, or let themselves be carried along by the current fashion. His style is more than ever strongly designed, founded on an acute sense of the theatre and an energy, which his dancers of today have fully mastered. Indeed, he loves to work with the same dancers and the large majority of the members of his company have been with him for many years. "Hom E" is a piece about the relationship with another person, the relationship to other people, all in all the relationship of men and women in our society, in a sense at once poetic and religious to the end. But the relationship to other people doesn’t boil down to physical or verbal exchanges, it is also induced by the spaces in which we live, by the architecture of our places of life. In altering these spaces, in modulating them in all possible ways, one creates different relationships between beings, another way of behaving and another way of seeing the other person. The décor is therefore able to be transformed, suggesting volume, going from small to immense. With the music of Jean-Jacques Schmidely, the décor of Gaël Bovio and the video images of Jean-Marie Châtelier, this creation heralds itself as a daring research of many considerations, fruit of the deep work that Philippe Tréhet and his dancers accomplish throughout the year for a diverse audience. Gérard Mannoni