This dance piece for ten dancers and three musicians, together with the first two occurrences of the NUMÉRO 0 project, form a suite, currently a triptych, without a narrative logic linking these three “scenes”. However, it is worth noting the presence of a few scenographic elements, which appeared in SCÈNE I in particular, and which implicitly link the new creation to the previous ones. Their very variety reflects Marie-Caroline Hominal’s spirit of research, her insistence on exploring new choreographic forms, her desire to consider other ways of working with dance, leaving the set and returning to it, or exploring the way in which video can be incorporated into the art of movement, space and temporality.

NUMÉRO 0 / SCÈNE III takes place in two stages, two moments that flirt with repetition without, however, being an exact mirror to one another. But above all, these two acts require the audience to be placed in such a way that they see the play in a completely different way. First of all, seated directly on the stage, surrounding the performers, with nothing separating them from the stage, the audience is almost included in the flow of movements, while having to give up an overall view of what is happening. Each gaze is drawn to a different snapshot depending on whether it is directed to one side of the stage or the other. Conversely, as the second part of the show takes place in front of the audience, who are seated in the traditional manner in rows facing the stage, the overall vision dominates the multiplicity of micro-events.

Highly choreographed, SCÈNE III features a series of events with no narrative thread and, together with the soundtrack created by the percussionists and guitarist, emphasises ebb and flow, energy and calm. Scattered all over the stage, simultaneously, short, fast-paced scenes occur, forming a dynamic of fleeting figures whose rhythm virtually takes hold of the audience. Solos, duos, quartets, lifts, jumps, furtive gestures, twirls, corps de ballet, a few incomplete steps, parades and vocal interventions intermingle or follow one another without hierarchy to come choreographically together. The dancers interact while leaving room for individual performance and for surprises to emerge, where each micro-event can tell a story free of all interpretation. The bodies are carried by the power of the energising sound, which gradually calms down and allows movements to settle into a dreamy and contemplative slowness.

Françoise Ninghetto