«This project is a series of three duos for performer and drummer, whose common architecture is redrawn with each new interpretation.
This serial project is more about questioning the link between the dancer and the music than about formally renewing the writing process. The idea is to reassess this relationship with every new edition, each of the performers using a radically different approach.
In recent years, I’ve met performers who have shaken the ideas I held about dance and composition. It is they who, since the piece Love in 2003, have in part motivated my desire to create. Their input has been considerable.
The process that I have put into place consists of defining a space for exploration which the performers can take possession of. I ask them to venture into the zones of movement and imagination that they haven’t approached before. Each project is born of our mutual capacity to reinvent a space, a language, the rules of a game, sometimes even a specific practice. I lead the team but I position myself more as a catalyst. More than leading them, I follow them. I watch them, I observe them, I spy on them, I accompany them across that which eludes them.
Interpretation in dance is an art in itself, an attitude.
Filtering experiences, troubling perspectives, betraying expectations, putting forms under pressure, producing hypotheses and nuancing the writing process through the investment of the imagination. What happens between them and me can be measured, it is a distance that we create, the same distance that the audience will use in turn in order to approach the piece.
Ondine Cloez, Marlene Monteiro Freitas and Julien Gallée-Ferré are part of this group of artists, their interpretative work is extraordinary, they have gone beyond my expectations.
They translate and in translating, their movement invents its path, its length and its story.
The relationship between dance and movement is full of pitfalls, misunderstandings, obviousnesses that one has to beware of.
The performer steps onto a steep and slippery path, the risk increases as well as the chance of getting lost.
The choreographic score and the musical score must each be audible, without ever submitting to nor simply resisting the other. Together they invent an unstable architecture.
Un Saut désordonné avec les épaules à la même hauteur que les hanches
Un Saut désordonné avec les épaules à la même hauteur que les hanches is performed by Ondine Cloez. 
This first proposition with Ondine is both physical and cerebral at the same time, and it is this quick and immediate circulation which dominates the experience. She drives that which is indomitable in her body. It is a mastered bucking movement. 
The jerky and fragmented writing of her dance leads us into a movement which doesn’t develop.
She asks us to follow her into its dead ends, its stops, its attacks.
The floor is hit more than slid upon, the body is both projected and retained.
There is something autumnal in this leap, a luminous aridity.
Marlene
Marlene is performed by Marlene Monteiro Freitas and Cookie Lesguillier.
Marlene proceeds in a way which is almost opposite Ondine, when she dances she seems to let go of everything that retains her. 
She is no less physical but more emotional.
Her movement is more organic, her rhythmicity draws its roots into a composite geography.
The version will see her exhuberant, uncontrollable, furious and effervescent. 
We are looking for excess, for empathy, the body pushed into a state of trance by the repetition of its movements, the relationship to the music in resonance rather than dissonance.
Fou
Fou is performed by Julien Gallée-Ferré and Cookie Lesguillier. 
Elegance and fantasy characterize this virtuoso dancer, his rhythm is powerful, his actions always precise.
The idea is to push these qualities until they become undone, leading him into paradoxical registers and images. To call forth distant bodies that populate him, to convoke memories and cultures he is not yet aware of. 
He can become a black man, invent descendants, he can change his culture, venture into faraway registers, in order to meet a still uncontrolled movement.»