Eclaboussures is a dance & digital arts solo co-written by choreographer Natacha Paquignon, dancer Anita Mauro and visual artist and programmer Raphaël Dupont.

Sensory memories

Eclaboussures is created from fragments of the dancer's sensory memory. Kinesthetic, visual, sound, olfactory, emotional memories, related to situations where the body risks going beyond its own limits.

From the sweetness of the cocoon to the intoxication of vertigo.

The visual matter

Dance interacts with a particular visual matter created by Raphaël Dupont. The body leaves its trace in the particles as much as the particles are imprinted in the body. Material to play, which we cannot totally control but with which we can create relationships. The simplicity of this visual material offers the public to project their own imagination.

Haikus

The writing of Eclaboussures starts from poems written by Anita Mauro. They are inspired by haikus, short and codified forms of Japanese poetry. Like dance, they translate a sensation, an ephemeral moment. They evoke an observation without describing it.

The sound matter

The rhythm of the haikus gives its rhythm to Eclaboussures. They constitute the sound material. The soundtrack of the play is composed only of voices : recorded poems and notes held. Haikus sometimes create a musical layer where the meaning of words gives way to the sensation that emerges from their entanglement. When they follow each other, they give to hear images that, combined with dance and video, leave everyone the freedom of a personal interpretation drawn from their own sensory memory.

The skin cabin

With this piece, the choreographer wanted to lay the foundations of a creative process with a cabin: the skin cabin.

Its walls are soft and elastic like the skin, and opaque: they mask the dancer from the sight of the spectators, unless a light illuminates her body.

The ambiguities of this device touch on the question of the border, which marks the work of the choreographer.

The skin cabin carries the question of the border between risk and comfort. The sensuality and elasticity of its walls invite you to explore,

To push his limits far, to sink into the matter, at the risk of losing balance or his spatial and bodily landmarks.

The opacity of the walls, which hide the dancer or reveal her by transparency, questions the boundary between intimate space and public space: what do we reveal to the public? What do we keep to ourselves? What goes through the skin? This question, constantly asked in our daily use of digital tools, is a common thread in the choreographer's research.

Another frontier always present in his choreographic and numerical works is the one that delimits the real and the virtual.

Body in flesh and blood or projected silhouette, body that protrudes from the frame or perceived through a wall, tiny real space, extremely restrictive, and imaginary space that disturbs spatial landmarks by the association between dance and visual matter.