May B

For us, this reflection on the work of Samuel Beckett, including the gestures and the theatrical atmosphere that are at odds with the physical and aesthetic performance of the dancer, has been the basis of a secret deciphering of our most intimate, most hidden and most ignored gestures.

On discovering these small or grandiose gestures of numerous barely perceptible, banal lives, where waiting and ?not quite? still stillness leave an emptiness, an immense nothingness, a beach of silences full of hesitations.

When Beckett?s characters only aspire to be still, they cannot stop moving, a little or a lot, but they move. In this work, a priori theatrical, the focus has not been placed on developing words, but rather gestures in their fragmented form, thus seeking the meeting point between reduced theatrical gesture on the one hand, and dance and choreographic language on the other.

Maguy Marin