In 800 Signs

Red alert. Dance is in a state of emergency. From Avignon to Paris Opéra Garnier, from Montreal to São Paulo, entire dance companies just can’t seem to stop running. From a breathless run to a heavy walk it’s always at life-or-death-matter speed. Where to? What for? Headlong rush, exodus, momentum: there is a growing trend in the world of contemporary ballet whereby bodies just race right ahead like hope is not dead. Somewhere, over the rainbow lays the centre of the universe, the core of our humanity. Olivier Dubois just presented his show Auguri in Chaillot by the Ballet du Nord of whom he is the director. A rebel with a cause as far as we can tell.

More Signs

In Maguy Marin in Paris Opera Garnier in April 2016 with Les Applaudissements ne se mangent pas, the phenomenon couldn’t go unnoticed. It wasn’t discreet either in Marie Chouinard’s Avignon’s French première of Soft Virtuosity, Still Humid, On the Edge, or in Guilherme Botelho’s Sideways Rain at the Monfort theatre in November 2016. Lately dance has amounted to large miles of running. Drawing parallel lines or diagonals these choreographers made people sprint in circles, squares, you name it. And there is no such thing as chance, is it? It was hard by the way to sit there watching Olivier Dubois’s Auguri and not think of Maguy Marin, whose 2003’s Umwelt was shown again at the occasion of the Festival d’Automne à Paris in 2015. One of her other major creations,  BiT, was featured again last February by the Théâtre de la Ville at the Rond-Point. Just like in BiT, the bodies in Auguri end up trickling down along sloping sidewalls.

Olivier Dubois, Auguri, Chaillot, illustration © Araso
Olivier Dubois, Auguri, Chaillot, illustration © Araso

Auguri is everything. It’s the beginning and it’s the end. In Italian, “Auguri” means wishes, usually -but not only, in a positive way. For Olivier Dubois it’s the end of a cycle. It started in 2000 with Révolution, a pole dance ballet on Ravel’s iconic bolero, followed by Rouge (2011) a solo by a golden mini-dressed Olivier Dubois up on a pair of high red heels, and Tragédie (2012) for which his entire company was running all-over the stage in the nude. « The race of a man towards the absolute… The run-up, the quest for new horizons! » are Olivier’s reported words in the show’s brochure.  « It’s a terrible crossing, (…) a protest of the living ». So this search for hope does exist in the end. « The quest for our humanity is our purpose in this world. »

Auguri is this urge to live, to stop intellectualizing. It’s a manifesto for physical sensations. Bodies dash off as some ballistic missile was going after them- their lives depend on it.  They bump into each other, jostle each other knocking one in the process. They fight, clutch, grasp living the moment a thousand per cent. In the end, we want to agree with Olivier Dubois’s conclusion that « It’s urgent nowadays to replace the body, the human, at the centre of the essence of the world because our vitality and our life depend on it! »

Auguroni, Olivier.
Auguroni.


Illustration © Araso
Auguri by Olivier Dubois interpreted by the Ballet du Nord was presented in Chaillot from March 24th to 27th 2017.