[vc_row][vc_column][vc_text_separator title=”PRESS | B&W ‘s” title_align=”separator_align_left” color=”black”][/vc_column][/vc_row][vc_row full_width=”stretch_row” full_height=”threequarter_row_height” parallax=”yes” custom_background=”custom” bg_image=”1531″ wide_row=”yes” css=”.vc_custom_1572183124834{background-image: url(https://cubehaus.fr/wp-content/uploads/2019/07/presse.jpg?id=6665) !important;}”][vc_column width=”1/2″][vc_column_text css=”.vc_custom_1572643544242{padding-top: 12px !important;padding-right: 12px !important;padding-bottom: 12px !important;padding-left: 12px !important;background-color: rgba(255,255,255,0.8) !important;*background-color: rgb(255,255,255) !important;}”]| blackSoul&whiteSpace | KLAP Maison pour la Danse | Marseille
After an eclectic career in figure skating and award-winning sports dancing, the Austrian choreographer Christian Ubl presented at KLAP, in preview, his last piece: blackSoul & whiteSpace …
… which uses the scenic space as a dreamlike place for the soul’s journey separated from its body envelope. The show in black and white, moving in its repetitive figures, first shows the disembodiment of a young girl wandering soul and its metamorphosis materialized in a new space by statuary postures.
In blackSoul, the girl (Emilie Camacho) clutching or embracing the Soul in black lace tights, struggles energetically in the midst of carcasses of empty bodies, dislocated puppets, before disappearing behind the scenes, while his double metamorphosed into whiteSpace, covered with a silvery, glittery tights, decked out with a parachute, the masked face (Marianne Descamps) adopts sculptural poses in the middle of five extras in black suit, the face covered with a cloud of tulle white, to the sonata sonata of Beethoven.
Throughout this play, Christian Ubl evokes with tact and subtlety a certain imaginary of the afterlife, post mortem, relieved of the Devils and the torments of Hell. He thinks that the presence of the Artist can be a remedy, even a help, when it comes to conceive in the areas of Eternity. In any case, his show left Klap spectators dumbfounded and speechless.
By Philippe OUALID | September 19, 2012
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With Black Soul, Christian Ubl reveals a superb performer, Audrey Aubert, black star, supernova full of grace that illuminates a strangely wise piece …
First of all, a few points which, in our humble opinion, hang in this room with the mysterious title, in Istrian patois, which does not keep to the end the aesthetic requirement of the beginning. The songs, in v.o. not subtitled, they also in this novlangue close to the Anglo-yogurt, are nice but sound more folk than rock, which is always a pity! And as soon as we approach the field of dance, whether in the neo-classical or contemporary sense of the term, we observe a gesture quite restrained, agreed, wise. It is … it is not easy to innovate in general and in the field of the turn, of the pas de deux or the worn in particular … That said, we must recognize that the choreography is perfectly metered, ordered, structured. The sequences stand out clearly. Course and speech are legible: we are in the clear line – the title will really apply to the dual part of the finale of the play, more nebulous and equivocal. Scenically speaking, Christian Ubl lacks neither visual ideas nor gestural finds. And the work, even unfinished, already works, it is indisputable. The gigantic mobile calderien imagined by Emile Genoud takes a while to get in motion, but its kinetic effect is guaranteed. Nothing to say lights, except that they certainly contribute to produce a sense of strangeness. The SM option, made of black lace, is reminiscent of bracelets, Venusian furs, elaborate jabots, and wrestler hoods, designed by Jean-Paul Gautier for Régine Chopinot’s façade. They add a precise and valuable connotation to the ambiguous character of the dancer-wrestler embodied by the bearded choreographer himself. The pleasant surprise of the evening was the discovery of a female performer of a rare grace and photogeny: Audrey Aubert. By its only immobile, silent presence, when, at the beginning of the piece, the time of a single, a single or a 2’35 of regulatory happiness, his voice is played in playback, the singer-dancer-actress It throws up trouble, quickly provokes emotion, fascinates its audience from the start. She takes the tray and will not leave it during the thirty minutes that the set lasts. Radiant, Audrey Aubert occupies the stage, moves slowly, sits on the same linoleum, near a pillar, garden side. With elegance, she lies on her back, raises one knee, rotates her body soberly concealed in a clear dress. She takes mine casually, neither seen nor known, her Crazy girl wig, elongates an arm, takes a hieratic pose. Another dress, on a perched hanger, dries under the sunlights. We have already said what we thought about litters. The choreographer-athlete with hooded head has no trouble lifting the frail dancer. He gently rests the porcelain body of his beautiful partner at the end of each of these figures he has seen fit to impose. After a while, we finally see an interesting passage where the young dancer repeats the same gesture and gives the impression of bouncing on an imaginary trampoline. After a few dry guitars, we get the solo of the young people, the dancer then out of the field. The variation is dark … On the air of Do not Drop Me …, Audrey makes up his wig, turns his back on the spectators and goes out at the back, side yard.
By Nicolas VILLODRE | Oct 1 | Oct 17, 2009
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] bs&ws[/vc_column_text][/vc_column][/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1571939884031{background-color: #333333 !important;}”][vc_column][vc_column_text]CUBe association is based in Marseille (FR) and supported by the Minister of Culture, Art and Communication DRAC PACA, the Conseil Régional PACA, the Conseil Général des Bouches-du-Rhône, the city of Marseille and the Culture Forum of Austria in Paris.
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