At nearly 3 grams

Performance type: 
Performance
Free tags: 
danse
danse-contact-improvisation
Creator: 
Bruno Mendonça
Jean Bloch-Laroque
Suzanne Cotto
Performer: 
Bruno Mendonça
Jean Bloch-Laroque
Suzanne Cotto
Bibliographical sources: 
in Bruno Mendoça, Bibliothèques éphémères, Editions de l'Ormaie, 2002
Producer: 
Bruno Mendonça
Jean Bloch-Laroque
Suzanne Cotto
Theoretical background: 

Originally from the United States, Contact Improvisation was introduced to France and Europe in Besançon and Paris by Didier Sihol, Suzanne Cotto and Jean Bloch-Laroque. À 3 grammes près (At nearly 3 grams) is at the dance studio “Le Terrain Vague” (“The Empty Lot”), with Suzanne Cotto and Jean Bloch-Laroque. They are two dancers that I had met at Pontarlier and that did Contact Improvisation. It’s a movement from the United States that I learned with them. In fact, it is the idea of balance and imbalance in regard to dance, except one works without music. Thus, it is the listening to and receiving of the other. It's played kind of like a game of tennis, with a person as the ball. It’s also the idea of balance and imbalance with the wall, with the ground, with the body of the other. Everything is based on flexibility, on the rebound. It’s the idea of accepting the loss of balance and bouncing back, of propulsion into space. Thus there were a lot of absolutely astonishing areas to explore. So, at this period, we worked on Niçois identity, with a bit of a caustic side. In particular, we had managed to record the sound of a telescope at Rauba Capeu telling the story of the County. We were pretty tough on clichés about the officials of art, the bureaucracy... What interested me was working with people who were not “thoroughly” in the contemporary art world. In this specific case, it was the dancers who played the game. We feasted as much in the preparation as in the execution of the performance.

Occurence: 

bande sonore de la performance

Bruno Mendonça
Synopsis / Description: 
Bande son diffusée pendant la performance, Bruno Mendonça: enregistrement blitz d'échecs gaz, eau de mer + chasse d'eau + bande présentation Ville de Nice+ musique
"Nous l’avions enregistrée chez moi, sur la plage, à Robba Capeu où une lunette avec des commentaires sur la ville ont été enregistrés et incorporés à la Bande-son."
MENDON
Objets: 

3 combinaisons blanches

Technique description référence: 
3 combinaisons blanches

objets utilisés lors de la performance: armoire, filet

Technique description référence: 
objets utilisés lors de la performance: armoire, filet
Documents: 

carton d'invitation

Type: 
Imprimé
Technique description référence: 
carton d'invitation
MENDON

documents préparatoires: dessins, plans, liste du matériel

Type: 
Manuscrit
Technique description référence: 
documents préparatoires: dessins, plans, liste du matériel
MENDON
Description: 

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.”

durant la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | durant la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
durant la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | durant la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
durant la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | durant la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
répétitions de la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | répétitions de la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
répétitions de la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | répétitions de la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
répétitions de la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | répétitions de la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
répétitions de la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | répétitions de la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
répétitions de la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | répétitions de la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
répétitions de la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | répétitions de la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
répétitions de la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | répétitions de la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
répétitions de la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | répétitions de la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
répétitions de la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | répétitions de la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
répétitions de la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | répétitions de la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste
répétitions de la performance
Bruno Mendonça, Jean Bloch-Laroque, Suzanne Cotto | photographie de la performance "A 3 grammes près", 1984 | répétitions de la performance | © Bruno Mendonça | photographie : © Philippe de Mendonça | courtesy de l'artiste