Self Unfinished (1998)By and with: Xavier Le Roy
According to a collaboration with: Laurent Goldring
Music: Diana Ross
Duration: 50 minutes, no intermission
Production: in situ productions and Le Kwatt
Coproduction: Substanz-Cottbus, TIF Staatsschauspiel Dresden, Fonds Darstellende Künste e.v. aus Mitteln des Bundesministeriums des Innern.
With the support from: TanzWerkstatt-Berlin, Podewil-Berlin and the Berlin Senatsverwaltung für Wissenschaft, Forschung und Kultur.


"A chair, a desk, a soundtrack, that doesn't start. A dancer in a shirt uses strong sound effects to imitate a robot. Indeed an understandable, even conventional idea, that is until Xavier Le Roy' s (1963, France) play turns into a gripping mental space. Head over heels, the dancer' s body is transformed in a real time into a series of hallucinogenic morphological aberrations, representing images of body that reconfigures itself based to unwritten laws and a disquieting, inhuman rhythm. It undergoes long stases, makes infinite movements and begins to crawl abruptly. In addition to the torsion carried out in the "spectacle de danse" (dance performance), Xavier Le Roy taps into a new field where scientific and social data is transferred and imprinted in imaginary representations of the body."
Francois Pironin the journal des arts of Connivence, 6th Biennale de Lyon


The brightly lit performing area gives no clues to "how to read" and the mechanical - man beginning is offset with a return to ordinary task - like activity: walk, sit, turn off tape machine. By the time you're into the contortions with the dress, we're given this extraordinary hybrid creature which confronts us with a multiplicity of interpretations. For me it alternated variously as insect, martian, chicken, watering can, caterpillar into pupa, et al. What saved it from being a Pilobolus - like entertainment (a crowd - pleasing American group that combines bodies to create biomorphic oddities) were the stillnesses and extended durations. We must sit with our attention riveted, waiting for the next stirring. Like watching a spider or snail. Your timing in this piece is exquisite: no pandering to short attention spans here.
Yvonne Rainer (email 22.12.1999)



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2010/04/02

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2010/05/13

Sadler's Wells - London, Great Britain
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Le Vivat - Armentières, France
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KIASMA - Oaxaca, Mexico
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2006/01/14

Milchhof, Aula - Berlin, Germany
2006/02/11

Schauspielhaus Zürich, Schiffbau - Zürich, Switzerland
2006/05/19

National Center of Dance - Bucharest, Romania
2006/10/15

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2005/01/15

Les Prèsqu'iles de la Danse, La Ferme du Buisson - Paris, France
2005/02/12

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2005/03/12

MU Theatre - Budapest, Hungaria
2004/02/20

Modafe - Seoul, South Korea
2004/04/27

La Francia se muove, Superstudio Piú - Milan, Italy
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Arte Scienza, Teatro Ambra Jovinelli - Rome, Italy
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2010/11/06

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2011/06/13

Camarin del Carmen, Festival Danza en la Ciudad, Bogota, Colombia
2011/11/28

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2012/03/10

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2012/07/04

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2012/11/16

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2013/05/16

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1999/04/28

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1999/05/09

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1999/05/10

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1999/05/24

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1999/10/07

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2000/05/30

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2000/07/05

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2000/07/17

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2000/09/10

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2000/09/14

VOXXX - Chemnitz, Germany
2000/09/23

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2000/10/06

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2000/10/10

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2000/10/25

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2000/10/27

Le Triangle, Mettre en Scène - Rennes, France
2000/11/09

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2001/02/24

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2001/03/10

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2001/03/30

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2001/04/18

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2001/05/06

HetVeemTheatre | Amsterdam, Netherlands
2001/05/15

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2001/05/23

Independent dancers association - Warsovie, Poland
2001/07/02

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2001/07/27

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2001/09/20

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2001/09/28

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2001/10/31

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2002/02/17

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2002/02/27

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2002/04/29

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2002/05/03

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2002/06/05

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2002/09/02

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