The encounter between juggling and music is first made through the use of deliberately simple forms.
A ball rises and falls. It has its own time. A repeated note is grafted onto it. Then the movement of a mallet and that of a ball begin to form one body.
The bodies of the characters also start to move. Especially the head. The arrangement of heads that turn and look is a vast choreographic and theatrical terrain. It is the promise of a dance.
On a stage reminiscent of a circus ring, we oscillate between the detail of a precise writing and the thick line of fairground eccentricities. The musical composition allows for a thorough virtuosity to emerge within poor, bare structures.
In these hybrid situations where disciplines merge to create an unidentified aesthetic object, an automaton -programmed within the score itself- fleshes out this court of miracles with a little humanity.
Concerts in the frame of the partnership with the schools of Hautepierre.