Philippe Saire plays on velvet
At the junction of visual and choreographic art, “Velvet” is a suite of scintillating promises. To discover in Sévelin 36, in Lausanne, then in Yverdon.
Games of velvet and curtains, in “Velvet”, the latest creation by Philippe Saire.
Philippe Weissbrodt
In sound crackles from the beginning of the world, three human beings emerge from the darkness as if fallen from the sky. Lying on the ground, arms and legs raised, they seem caught in the ashes of their existence before getting up, dancing, falling and getting up again and again in front of a time-colored curtain. This will be the first of a long series of different textures and colors. Thirteen curtains which, rising, falling, pulling and crumpling around the bodies of the performers, will punctuate “Velvet”, the sixth part of “Devices”, a series of pieces close to the visual arts.
Always fascinated by the articulations and gesticulations of a society of the spectacle caught up in a frenzy of entertainment in the face of the finitude of the living, Philippe Saire has made it a red thread that he follows through works such as “Do I allow me to draw your attention to the brevity of life?” or “I want to believe you”. With “Velvet”, in English velvet, like the red velvet of the traditional theater curtain, the choreographer plays with sudden appearances and unexpected disappearances.
black anger
It summons uncertainty through the movements and attitudes of the performers who react and adapt to each new situation. Sometimes melancholy, sometimes laughing or plunging into black anger depending on the moment, like Yann Philipona, a mischievous actor on the move, who firmly invites the public to get out! Then who, during a new curtain raiser, apologizes with the feverish concern of someone who could well be punished by life.
Sublimated by Stéphane Vecchione’s excellent soundtrack, the artists, including David Zagari, a sparkling dancer, and Géraldine Chollet, a dancer with a divine song whose interpretation of “Waiting for the Night” by Depeche Mode upsets, appear and disappear according to the descents and raisings of the curtain. Structuring the space and bringing out the illusion of reality, the curtain then appears as the magic brush of the artist Philippe Saire.
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