At the Dance Studio, we spread a net 2.5 meters above the ground. The audience was invited to lie down underneath. Dressed in white jumpsuits, we climb into the net one by one. We move about like spiders on a web, leaving a body part hanging weightless over the audience, arms, heads, legs, poking out like jellyfish tentacles. After this 5 minute intro, we come down to start the soundtrack which we created using various elements reminiscent of the city of Nice. We make a series of headstands along the walls, either individually or in groups. The soundtrack loudly plays the sound of gas escaping. We begin to touch, slowly, then faster. The principle of Contact Improvisation is to work on quick contact, the balance and imbalance of partners giving it a dynamic character.
A warm-up of Contact Improvisation goes on for 7 minutes, ending in a total occupation of the space. The walls are like a fourth partner. The ground can serve as a zone of contact and rebound, we do somersaults and make various shapes like an indivisible ball of flesh. We go on in keeping with the sounds and music played. The dynamics slow down, speed up…We use our heads to tap a ball hanging from the ceiling. We bring in a cabinet that we will swarm over, on top, inside, shaking the doors and making them squeak, creak, and slam. At one point, we tip the cabinet over to make it a “final casket,”we use it as if it were another body...
A large ball hanging from a rope is attached to the net and we play with our heads, all of our body parts are used in this performance.
We finish by improvising throughout the studio space, playing with the bodies of some of the spectators. All of the last part is performed in silence, the bodies bouncing around reflecting the music, muscles and nerves tensed to catch the falls and to send the other flying into the “space of an Yves Klein.”