In schème, five major sequences are brought together within a restricted conceptual framework: the place where the performer is located, his or her physical presence, the space and time.

In terms of the image and the sound, only those sources coming either from the space itself or the performer are used. In terms of movement, only those sequences demonstrating a clear relationship to space and to media-based time are selected. The sound sequences were created using the “room tone” of the space. The sounds of the dance are recorded and manipulated interactively via the sensor- system. The projections are made up of images of the performer, the performance space and 3-D representations of the same space.

These virtual sites – whether schematized or realistically textured – are projected either one or two at a time. The projections are sometimes fixed while at others times they shift position on the surfaces of the site.
Our aim is to create a highly exacting rhythm and dialogue between the presence of the body, the sound environment, the projected virtual image and the actual space.


1 - Fixed body with a "gone" head, physically present but mentally elsewhere

One of the performers is lying flat on her stomach on the ground. This character acts, but also “tele-acts” at a distance. By moving her camouflaged head, she controls the projection of images representing a schematic version of the stage space.

The movements she makes with her torso, legs and head alternately interlock and become dislocated. Though the body is present on the stage, its thought projects it outside itself. The space - as a reflection of the body’s actions and interiority - is dislocated like the body itself.

-----------------Dissolution of the physical presence by the use of telecommunications------------------

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2- Human bordered space

The represented space is a mental compression of a larger space, following the "as the crow flies principle". The audience does not perceive the slow or fast movements, the stops and starts, but only "the reality of time itself where the movement takes place". The fragmentation of the space generates a mental confusion of time and space.

-------------------Loss of the significance, with the profit of the transmission channels-----------------

3 - Suffocating body - in time displacement

In another corner of the performance area, a body is standing upright in precarious equilibrium. Short of breath, it seeks to reconquer lost space. Its joints unsteady, it breaks down with jerky movements and collapses on the ground. Its fall triggers the projection of images reconstituting the final moments preceding the body’s collapse from various viewpoints. At this time, the real resembles a network, a field where the intervals of time and space no longer organize the world.

--------------------Intrusion of biotechnology, plastic surgery, artificial intelligence----------------------

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4 - Extended arms in a parallel world

An inapt body, saddled with crutches, moves about on the spot, the body's movement is projected elsewhere even as it remains right here.

---------Abolition of the distances by the acceleration of transport and telecommunications----------

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5 - Siamese twins connected to a projected
space illusion, incorporation of one body by another

At another point in the performance, the two dancers are attached to each other by common body parts. Linked together, they influence and deform the movement and content of the projected images of the performance space, which in turn is itself altered. The perception of the mass as well as the distinction between inside and outside are no longer clear.
Like Siamese Twins these overlapping spaces form a single whole.
The parallel or alternating solos and duos are caught up in the sounds produced by the movement, which are recorded and treated in the course of the performance.

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