Théâtre Antoine Vitez
At the heart of a constantly evolving universe, a constellation composed of suspended elements of the earth is the setting for five radiant performers who are buffeted by the eternal tremors of life and dragged through all sorts of emotional states. Borrowing the language of the circus and the movement of dance, they are carried along by the slow metamorphosis of the environment of which they form an integral part.
Switching back and forth between body-objects and body-actors, the artists perform circumvolutions, are confronted with the surrounding organic material, following it, escaping it, striking up against it, or melting into it. Artists burst forth, disappear and appear again, all forming notes in this concert of metamorphosis, often in a barely perceptible manner, often with a shocking brutality. Because the circus allows for the exploration of the notions of cycles and chaos, the collected artists—dancers, acrobats, hand-to-hand balancers, aerial dancers, and jugglers—sweep across the space and create "energy collisions". As with fractals, there is no beginning, there is no end, just a continuum that the audience can grasp only in the very instant. After Hêtre and Phasmes, Fractales represents another phase of Libertivore's work on the place of humanity within a natural world that is steadily dissolving.
Writing, staging Fanny Soriano
Choreography consultant Damien Fournier and Mathilde Monfreux
Performers Vincent Brière, Nina Harper, Léo Manipoud, Kamma Rosenbeck, Voleak Ung
Music Grégory Cosenza
Costumes Sandrine Rozier
Light design Cyril Leclerc
Stage design Oriane Bajard et Fanny Soriano
Libertivore was founded in 2005 by Fanny Soriano (dancer, aerial acrobat) and Jules Beckman (musician, multidisciplinary performer). Together, they created the eponymous show Libertivore in 2007, before going on to help create the performance Autochtone in 2009 alongside Collectif AOC.
Fanny Soriano has developed a performance style that mixes dance and circus, enriched by her ongoing research into organic matter. For her, the circus is a vehicle for a metaphysical exploration of the relationship between nature and human nature: using a range of material that is both malleable and metamorphic, she embraces an acrobatic vocabulary to assess the place of humanity in a (sur)real biotope. She takes the rhythms of nature and uses them as inspiration for the equipment, the stage design, and the props, all while seeking to accentuate the virtues of a sometimes undetectable, misunderstood, or underestimated simplicity.
In 2015, she created the solo performance Hêtre for an aerial dancer with a suspended tree branch. Then, in 2017, there were the shows Phasmes, hand-to-hand balancing performance for two acrobatic dancers, and Silva, an artistic odyssey in a natural space that combined both Hêtre and Phasmes.