- the new history of our bodies by camille prieux
- camille prieux © bart grietens
THE NEW HISTORY OF OUR BODIESPRINT THIS PAGE
According to Gilles Deleuze, “In dance, the body of the dancer, goes from one pose/form to another and the forms are captured at the maximum of their actualization point.”
The idea of this project comes from the desire to capture the forms, which are created by the body when it’s in motion. In one of his lecture, Deleuze explains that a way to keep trace of a movement is to look at its privileged moments. Those privileged moments are what the ancient greek called the acmea, the climax. It is the point from which everything changes, that produces a significant shift. The movement that happens in between the different climax is conditioned by what makes it start and it goes until, something else happens. I think that in a way, those privileged moments are exceptions, accidents, unique moments; they are extra-ordinary.
But, as we are dealing with living bodies, we are confronted to a system that is in constant motion, always changing. How do we capture the acmea then? What are the tools that can help us extracting from the movement, the forms that we consider privileged? How to extract an instant when everything is changing? And who decides what is important? The maker? The viewer?
To use an image I think that the privileged moments in one’s life are like the data’s on a CV. They are selected out of the crowd of moment, to emphasize an evolution, to give more importance to a position, presupposing that from this moment, everything had been different. They are considered important after they have happen in view of what happened before and what it produced. But it’s only a matter of perspective. While an external point of view will declare which of the moment are significant, every instant is still as important as the next and as the previous one and every time a form appears it will be extra-ordinary
Concept by: Camille PRIEUX
Creation and performance by: Meri PAJUNPÄÄ (FI) and Camille PRIEUX FR)
Photo editing: Fivos Salahas
Supported by PARTS winter studio
In collaboration with workspacebrussels
No other productions found
Camille PRIEUX (Fr) started to dance in 2003 at the school of the Centre chorégraphique national de Roubaix (artistic direction: Carolyn Carlson.)
In 2008 he takes part in the creation of the performance Dormir Ensemble by the choreographer Richard Pauliac/Cie Tapis Noir.
The same year he enters the Salzburg Experimental Academy of Dance (S.E.A.D) and dance in several pieces of the choreographer Jelka Milic.
From 2010 to 2012 he studies at P.A.R.T.S He is currently dancing for Francesco Scavetta/Wee Company in the piece Surprised Body Project, Cyril
V iallon/Cie Les Caryatides in Wisshhh!! And for Carolyn Carlson in Synchronicity and We were horses.
During his education, Camille created Where is it going? A piece for 4 dancers and a painter (2009), Preforming 1 minute a duet with Maité Jeannolin (2011), Home a duet with Jeanne Colin (2012), and a solo, One (2012)
Meri PAJUNPÄÄ started dancing in Finland at Nurmijärven Tanssiopisto and later on at Tanssivintti (Helsinki). In 2004 she entered the Amsterdam Theaterschool, Modern Theater Dance department. After her graduation in 2008, she danced in creations with different choreographers, such as Itamar Serussi (IS), Sanna Myllylahti(FI), Erik Kaiel(NL), and Arno Schuitemaker(NL) among others. In 2010 she started working with Francesco Scavetta(IT, NO)/Wee company on the Surprised Body project, touring over 2 years in Europe, India, South America and the Middle East.
During her studies Meri created the works The difficulty of... a solo, and Leftovers at the Waterlooplein, a duet with Anat Yaffe, both performed at the Theaterschool. In 2007 she created a duet Stupid Light which was performed at the Muiderpoort Theater in Amsterdam. In 2010 she founded
together with a group of dancers and musicians an improvisation collective Tail Collection, which performed in the Netherlands and Belgium between 2010-2011.
Along her career as a performer, Meri has also been teaching contemporary and partnering classes for amateurs and professionals.