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Kevin Jean & New Gravity

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Kevin Jean & New Gravity PARKOUR Kevin Jean & New Gravity The Sweet Way 13 novembre - 13h30 14 novembre - 10h TÉAT Champ Fleuri À partir du CE2 Dossier ressource David Sarie Professeur relais des TÉAT, île de La Réunion auprès de la délégation académique à l’éducation artistique et à l’action culturelle. Marine Carron Médiatrice culturelle des TÉAT www.lescoulissesdesteat.re www.teat.re 1 © iprod DOSSIER RESSOURCE SOMMAIRE P 3 - A propos du spectacle P 4 - Démarche artistique P 7 - A propos des artistes P 14 - Le parkour P 18 - Pistes pédagogiques Dossier ressource - The Sweet Way 2 A propos du spectacle The Sweet Way est le fruit d’une rencontre initiée par les TÉAT entre le chorégraphe Kevin Jean et les New Gravity, une équipe de traceurs qui font du parkour à La Réunion. Cette rencontre est celle de langages artistiques différents, d’histoires personnelles avec les failles intimes de chacun mais également d’un cheminement du travail des uns et des autres appelés logiquement à converger. Après Emergency chorégraphié par Jérôme Brabant en 2015, les New Gravity reviennent sur scène avec une création plus intimiste, moins acrobatique. Il s’agit de mettre l’énergie non plus au service de performances spectaculaires mais d’une démarche à la recherche de la douceur. Dans cette création, Kevin Jean poursuit un travail initié en 2016 avec Promesses du Magma vers des chorégraphies plus introspectives et apaisées. Il prend le contrepied de ses trois premiers spectacles, La 36ème chambre (2011), Derrière la porte verte (2012) et Des Paradis (2015) qui étaient centrés sur l’entrave et la contrainte. Cette création parle d’eux. C’est-à-dire de jeunes gens. Ils vivent à La Réunion mais cela pourrait aussi être ailleurs. Comme tous ceux de leur âge, ils sont en butte aux difficultés de l’entrée à l’âge adulte. Celles liées à leur avenir, à leur identité personnelle, à la place qu’on leur laisse ou qu’on leur refuse, aux rapports toujours questionnant aux figures parentales. En outre, pour certains issus de l’immigration, ce vécu est également marqué par les préjugés à l’égard des étrangers, le rejet, les violences morales parfois difficiles à appréhender objectivement pour ceux qui ne les ont pas subies, les difficultés auxquelles sont confrontés tous ceux qui sont éloignés géographiquement de leurs familles et de la culture d’origine de celles-ci. Comment se construit-on dans un milieu hostile ? De quoi est-on capable ? The Sweet Way est la recherche d’un cheminement vers une voie apaisée. La quête de la douceur. Pour Kevin Jean, il s’agit avec The Sweet Way d’une « histoire d’individus qui se regroupent pour créer une famille. Leur propre famille dans une maison où ils trouveront leur place, seront compris et accueillis dans leurs différences. Des histoires de jeunes hommes et femmes qui font face et luttent ensemble pour exister dans une époque rude et peu enveloppante. L’urgence de trouver son chemin et de tracer sa voie, quels que soient les obstacles rencontrés sur son parcours. Une pratique quotidienne pour apprendre à les déjouer, à s’en servir, pour grandir, évoluer, se transformer et ne pas se laisser enfermer. Courir vite, sauter loin, passer, se dépasser, dans la vitesse et la virtuosité, dans la prise de risque et l’engagement. Petit à petit, en acceptant la diversité de nos envies et notre complexité, s’accorder de la douceur et de la lenteur, de la tendresse et du dépôt. Ce sera une aventure explosive et haute en lutte. Nous viendrons demander des comptes. Ce sera une course pleine de contrastes et à l’image de cette famille. Ils nous parlent alors de leurs origines, de leurs fractures, ou de l’absence du père. La voix off, très artisanale, instaure néanmoins une authenticité que renforce le travail d’interprétation des jeunes. Les expressions sont graves, les gestes en suspens, on s’appuie les uns sur les autres dans la pesanteur ou l’apesanteur, au grès du récit. » La troupe de danseurs/traceurs prend lieu et place du groupe des pairs au sein duquel l’individu encore adolescent trouve une seconde famille où ses difficultés, ses doutes, ses questions trouveront un écho et seront comprises. C’est bien d’une lutte dont il s’agit pour dépasser, contourner ce qui fait obstacle. S’aguerrir et prendre confiance en soi. Dossier ressource - The Sweet Way 3 Démarche artistique Le thème du spectacle est servi par la technique de parkour qui est mobilisée. Cependant, il ne s’agit pas seulement de mettre le parkour sur scène mais de l’appréhender comme un langage pouvant entrer en résonance avec un langage chorégraphique plus éprouvé. Pour ce faire, Kevin Jean a utilisé la danse contact1 mais également des techniques perceptives tels que le yoga, le chi qong ou des techniques de danse contemporaine afin de permettre aux New Gravity d’expérimenter d’autres voies chorégraphiques. Cette création n’est pas seulement l’œuvre d’un chorégraphe mais une construction collective au sein de laquelle s’est instauré un dialogue permanent à partir du discours que les danseurs portaient sur eux et les diverses propositions faites durant ce temps donné à l’expérimentation par les uns et les autres. La scénographie est minimale. Trois cubes en bois brut de tailles différentes qui permettent de délimiter l’espace, de créer des obstacles sans lesquels le parkour ne peut exister, ainsi que différents paysages. Il s’agit donc d’un spectacle abstrait au sens où il ne se déploie pas selon une trame narrative mais qu’il offre une structure où chacun va pouvoir se raconter une histoire à partir de ce qui l’interpelle. La musique est essentiellement électronique (Ryoji Ikeda, Dear criminals..) et est mêlée d’enregistrements des danseurs. Ceux de leurs voix racontant des récits de vie. Ceux du bruit de leurs pieds martelant le sol du plateau lors des répétitions. Ceux de corps fatigués suite à de longues sessions de travail. Dans ce spectacle, la démarche des New Gravity est mise au service de la création chorégraphique dont elle devient un des langages. Cependant, le parkour en tant que tel ne peut rien dire et ne donne lieu qu’à des acrobaties. Aussi, c’est en faisant dialoguer ce que porte le parkour en terme de valeurs, de pratiques et de codes esthétiques avec des techniques chorégraphiques contemporaines que les New Gravity et Kevin Jean ont composé au plateau ce spectacle. 1 Le point de concentration fondamental pour les danseurs est de rester en contact physique ; s’offrant mutuellement des appuis, innovant, ils méditent sur les lois physiques liées à leurs masses : la gravité, l’impulsion, l’inertie et la friction. Ils ne s’efforcent pas d’atteindre des résultats mais bien plutôt cherchent à accueillir une réalité physique constamment changeante par une manière appropriée de se placer et de diriger leur énergie. » Steve Paxton, A definition, Contact Quarterly, 1979 Dossier ressource - The Sweet Way 4 The Sweet Way part de l’identité du groupe dans les valeurs et les objectifs qui le structurent. Dans la logique du parkour, le groupe ne prime pas sur l’identité de chacun de ses membres. À l’inverse, c’est le groupe qui existe comme une fédération d’individualités autonomes mais solidaires, rassemblés autour de valeurs et d’objectifs communs. À l’origine de ce spectacle il y a donc le discours des individus sur eux-mêmes, leur parcours biographique, leurs difficultés et questionnements, la raison d’être de leur pratique du parkour, leur rapport au groupe de traceurs. Il y a une quête de vérité sur ce qui anime intimement les uns et les autres, la recherche de ce qui est présupposé implicitement et ce qui ne s’énonce pas. Pour ce faire, Kevin Jean et les New Gravity ont travaillé à partir d’improvisations initiées par l’usage de techniques de danse contemporaine telle que la danse contact. Le contact physique continu des corps des danseurs ouvre une sorte de dialogue charnel. Le mouvement des corps répond incessamment aux propositions de l’autre. Dans cette démarche, il n’est nulle question de virtuosité ou de « spectaculaire » mais bien plutôt d’une recherche de sensations qui éveillent et rendent manifeste ce qui est contenu et fait parfois l’objet d’un déni. Ce qui n’empêche pas ensuite de donner lieu à quelque chose de « spectaculaire ». Ainsi, Sally Banes remarquait dans Le contact improvisation : un projet démocratique2 que « le Contact improvisation peut se composer d’une série d’évènements dramatiques et spectaculaires à regarder. La présentation sous la forme de “concert”, c’est-à-dire devant un public, diffère cependant très peu de ce qui se fait en atelier. » Comme dans le jazz en musique ou les milongas au tango, la danse contact ou contact improvisation permet aux danseurs d’entrer dans des rapports au sein desquels ils peuvent mieux se connaître. Ils explorent à partir, d’une part, des propositions faites par les uns et les autres et d’autre part, de la compréhension qu’en a chaque danseur. Ils composent ensemble des codes communs. Ce dialogue soutenu de propositions des danseurs et du chorégraphe sur une période courte a fait naître un spectacle choral où chacun parle de soi et du groupe. Cette création est scandée en paysages qui offrent une structure non-narrative à partir de laquelle chacun va pouvoir se raconter une ou des histoires au service de sa propre interprétation du spectacle. 2 Le contact improvisation : un projet démocratique, Sally Banes, 1972. Disponible sur Nouvelles de danse n°38-39, 1999. Dossier ressource - The Sweet Way 5 Dossier ressource - The Sweet Way 6 A propos des artistes Kevin Jean, Chorégraphe Entré dans le mouvement à travers la pratique d’activités physiques en pleine nature, il se forme en science de l’éducation physique, avant de se tourner vers la danse.
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