He’s late.
Art, in this case dance, that confronts and confounds, pulls me into an unfamiliar space which challenges my imagination and lingers teasingly. Wish I were in Paris
1
@Grittenhouse
Heehee ... yes, my thoughts exactly. This fellow just sounds like a walking gimmick, who talks about what he's doing in words as flowery and overdone as his costumes.
On top of that, all the gimmickry seems designed with one end in mind. To get attention. I am accustomed to some narcissism in artists, but this is over the top.
Some priceless quotes:
-To Mr. Chaignaud, whose works ignore conventions of gender and genre, dance always contains the possibility of being something else.
Like what? Could dance become, er, welding? Cooking? Uber driving?
-The connection between myself, the audience and the art is super direct, he said. It’s unbiased.
Um, what exactly would a biased connection look like?
-I also only chose songs that use the pronoun I.
Pretty much sums things up.
-There is an echo of my own gestures in the movement by the audience, because it has to reorganize itself constantly to not be hit by my costume or just to see what’s going on.
Yes - the best way to engage an audience is, without a doubt, to irritate them.
-We ask people not to lean against the walls because that creates an empty space in the middle. I don’t want to recreate the safety of a traditional stage. And also ask them not to sit on the floor so the piece keeps moving.
Yeppers ... anything, I mean anything, that would detract from the audience paying complete attention to him is to be forbidden.
I doubt he'll ever be super famous ... ;)
1
Fascinating and inspiring
1
Real talent does not rely on gimmickry. The more choreography travels away from interpreting music in dance, the further it devolves into self-serving excretions that can only dis-involve an audience unless they want to get filthy, too. Sadly, many now do. Dance achieved so much in the Twentieth Century, and has as rapidly devolved, pretty much mirroring painting.
5