Curriculum Vitae

Curriculum Vitae is not a chronological listing of skills and work experiences, commonly used as an indispensable tool for assessing employability on the work market. My artistic project is an attempt to capture the movement of time and its different perceptions through the courses of life, the curricula vitae, a little backwards and with a touch of self-mockery.

This work is at the same time a transdisciplinary research project and a new creation that bears the desire to bring dance, music, song and words into an argument with each other, to experience their coexistence and to think them together. The idea of encounters between artistic disciplines, historical or cultural contexts and narratives and between languages, performers and audience is part of the dramaturgical structure of the piece. It is viewed in all these dimensions, opening up to the potentiality of dissonance inherent in every encounter of distinct singularities as a poetic source and creative force. By facilitating disharmony, I am highlighting the musical, physical, and narrative dissonances generated by the encounters, thereby giving a place to the coincidence of the moment, the performative. Thus, this piece composes fixed, composed or written elements, with unstable, unpredetermined materials that reinvent themselves each time, paving the way for a transformation, a change.

That is why I would like to intertwine the different perceptions and experiences that one can have with "time": the time of a life with all its constitutive dimensions - the memory, what one experiences in the moment of experiencing it, our projections in the future. Then the time of the more or less long encounters with other individual biographies. And finally, the time of encounter between different cultures or histories, i. H. the long stretch of history that is so difficult to represent for us on our human level. Through these different temporal and narrative axes, a space-time emerges that develops in a spiral. Within, individual and collective narratives, which are transported by the bodies and voices of the three actors, with the different levels of "story(s)" meet.

“On the course of the spiral, all things always return, but to a different, higher, place: it is then the return of differences, the progression of metaphor; it is the fiction” Roland Barthes by Roland Barthes, Seuil, 1975.

I am following this idea and metaphor used by various historians and philosophers about the movement of time, specifically historical time evolving according to the orbit of the globe or a star in a spiral movement - also called "revolution"... According to it, History seems to repeat itself, but in reality the repetition is never an identical reproduction of the past event. It is a sense of absurdity and desperation we feel sometimes in the face of the "pointless" repetition of events, whether happening to us, in our personal lives, or as a collective, a political body. As if we were puppets being manipulated by invisible forces. Nevertheless, the recurring part from the past develops upwards and upwards through the temporal growth of the spiral line, but without ever escaping the curve of repetition.

With Curriculum Vitae, I want to confront the audience with this feeling, based on this idea of the spiral, where the repetition is never an identical reproduction of the past. I want to offer a reading of the past and the present that is free from an absolute truth, from a dominant, already internalised, model that predetermines our individual or collective consciousness as well as our reality without questioning it. Through the dialogue between the artistic disciplines and the diverse, anachronistic and newly composed narratives, I want to get the audience to shed the obvious, to break open the predetermined or conditioned from within, so that everyone can rediscover within themselves the desire and the power to act.