The asshole walks our streets, take the bus, share our Sunday meal. The asshole is under our shirts, protector, salvador, victim. Small mouth noises, a look that insists, sighs that last, a gesture that is introduced, an idolized body that occupies space.
Here, the asshole becomes the object of scrutiny, The two performers invert the power relationship of the gaze that the asshole poses on them, appropriating the ambiguity of their gestural and verbal practice.. In a performance of 45 minutes, This choreographic language is displayed in what is comical and violent.: danced micro-gestures, scanned in a duo that responds; a little sung ditty that repeats itself, is amplified, it amuses us to the point of disgust. A liberating and joyful seizure of power as a promise of a world upside down from dominations.
Bell end is a portrait of the asshole's body, fueled by the experience of the performers and testimonies of multidisciplinary artists from multiple backgrounds questioned during a residency at Lieu Commun. The research allows us to develop an alphabet and a lexicon of micro-gestures and micro-words of the asshole. He is interested in the visual impact of movement in space as well as the sound impact of a phrase or an expression with the aim of understanding how micro-gestures and micro-words as interjections are enough to dominate the bodies of others.. The bodies of the performers seek to occupy all the space: physical, sonorous, olfactory, visual. It is about scanning the asshole's bodily and verbal habits to appropriate them and enter into an asshole dance., rhythmic, ridiculous and graphic. From these movements, female performers increasingly embody the desire to establish their physical authority in space, on the public and on each other.
