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Skènè starts from the idea that people play games to grasp the space that surrounds us, to organize it so that it will never escape us.

Skènè

Claire Croizé and Etienne Guilloteau

Gilles Deleuze quotes the example of a child in the dark who comforts himself by singing under his breath and coordinating his movements to this song. In Skènè, Etienne Guilloteau and Claire Croizé similarly portray two people who have to find their way in the chaos and empty space of the stage. The sense of abandonment that is summoned when Croizé starts off alone on stage stays with us even when Etienne Guilloteau joins her, accompanied by the sounds of a Mozart piano concerto. Their movements follow the music in a way that is almost automatic, but devoid of contact. Despite the unisono of the two dancers, there is no direct communication. Skènè shows us that we always remain alone in the dark.

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Choreography and dance
Etienne Guilloteau, Claire Croizé
Light
Hans Meijer
“The duet Skènè that [Guilloteau] brings together with Claire Croizé, is just as intelligent in its design [as Love me two times] but it inarguably also touches an emotional string. … the beauty of this performance liesin the way the interplay between music and movement shows an abstract, but strong imagination of the volatility of communication between two people”
Pieter T’Jonck, De Tijd, 4 March 2004
Flowers (we are)

Claire Croizé

HERO

Claire Croizé

Mer-

Claire Croizé and Etienne Guilloteau

EVOL

Claire Croizé

The Diamond Sea

Etienne Guilloteau

Primitive

Claire Croizé

Feu

Etienne Guilloteau

Zeit-bild

Etienne Guilloteau

Synopsis of a Battle

Etienne Guilloteau