Ywoo (Aubervilliers, France): TLT: PFQM / Stronger than me / online attempt

  • 8 Apr 2023 2 pm UTC – postponed
  • dur 45 min

JTLT: PFQM is a performance project developed by Stan Briche based on the last novel of Guillaume Dustan’s auto-pornographic trilogy. The original production is staged with minimal scenography in which a performer) is invited to grasp an evolving creative protocol. An isolated body is presented as a literal and poetic projection surface. The text, in a voice over, inescapably lists an intimate journey into the sadomasochistic practices of the author-narrator. Obviously, these practices conceal a humorous quest for an almost Christ-like purity. The entire novel was recorded, in a raw and direct style, by various friends and lovers of the director. At the heart of the device, the broadcasting stands as the unique narrative line. The performer also plays with this scheme, at times remarkably close, at others desperately faraway and fleeing. Beyond any strategy to seduce, he exposes his intimacy “literally and in every direction” in Rimbaud’s words. Before rehearsals, various material (texts, music, iconography, memories) are brought by the performer. These will be used as a base for the object proposed and will deeply change the very nature of the proposal. The plan is thus challenged, to create a tailor-made piece (like the Haute Couture world would say) for the actor. In what seems to echo to a bedroom, the ruins of the interior, he carries out daily activities and rituals from which a choreography and intimate rhythm gradually emerge. A slow and inexorable transformation, from the mundane to the exceptional, from the man to the Nietzschean Super-man which Guillaume Dustan claims to be. In the body and voice dichotomy and the audience’s free circulation, a form emerges between drama (the entire text is present), dance (the performer’s body is in constant tension, desired and desirable, as a unique visual attraction) and performance (the scheme is reinterpreted every time). How does one assist to such intimate confessions and let them resonate in oneself? Find the appropriate distance to receive, reflect, recognize, or reject? How to reach the feeling, whatever it may be, facing this tale and this body, fascinating and in turn wildly erotic and innocently provocative?

Stan Briche’s work is located between theatre, dance, and performance. After training as an actor at the Conservatoire, Stan Briche soon showed a keen interest in hybrid productions along his thespian itinerary. From cabaret to punk concerts, striptease to experimental, virtual, video or documentary creations, he envisions stage work as a hybrid ensemble and it was quite naturally, and almost without realizing, that one day he started to dance. He has taken part in several dance festivals in London, Berlin, and Paris (at the Centre Pompidou for instance) with performances for Catherine Bäy and François Chaignaud. Gradually, working with different choreographers, he came to accept his new condition as a dancer. He thus collaborated with Annie Vigier & Franck Apertet, Ivana Müller, Geisha Fontaine, Frédéric Nauczyciel, La Horde and Olivier Dubois. He became increasingly interested in choreographic composition, notably with Liz Santoro and Ashley Chen before creating his own choreographies, while continuing to work as a performer for different companies and collectives. He has created several plays and performances, still in production, in which the sound system always plays a key role, whether it is a playlist of suggestive songs listened to via headphones by the audience or a choreography performed twice on different soundtracks. – Jetaimejeteveux, creation for one spectator, 2015, rerun 2017 and 2019 – Lesbos, elegiac and participatory ritual, 2017 creation, rerun 2019 and 2020 – IS THIS DANCE? choreographic solo, 2017 creation, rerun 2019 and 2021 – Je trouve le titre: PFQM, performance, 2021 creation.