In a stage space, three presences confront each other and conjoin: the man ' the dancer ' a mobile sculpture, and music.
Images succeed one another, creating the stages of an inner journey.
The mobile sculpture, in other words “the thing”, a gigantic sheet of paper, bearing traces of my drawings ravaged, screwed up, twisted by water, wind and movement.
The relation between the man and «the thing» evolve and are transformed. In this universe, man ' the dancer is driven by a need and its sublimation.
Onstage, the cellist participates in the dramatic development. Sound opens up invisible spaces.
What does “KHALAL” mean?
Arabic Berber: brooch composed of a ring and a needle for women clothes. Women used it to make their clothes fit.
The verb Khalla refers to the binding of the pin but moreover to the idea of “being oneself”, of “doing something special”, of “going within”. The idea is “to get in, in order to find something”; it is related to the thought of interiority.
Khalal is the chink, the interval, the linking non-space, a hiatus (conflict) unifying. It is within this non-space that there is something to find and paradoxically from opposite directions.
This performance joins up dance, visual arts, and music. Interaction between the mobile structure, the dancer and the violoncellist. The three of them are on stage. In this set, what drives the performer to move is the feeling of lack, and its sublimation; a paradoxical feeling of emptiness and entirety. The dynamic starts from this point, the desire to be open to the “becoming space” and to dash towards the “inside space”.
The theater La Machine à Eau is at the same time a space opened to the outside by its large glass walls, closed space when its windows become mirrors. This space arouses in me the desire to spread, to fly. But flying, I collide to the walls, so I focus my desire towards interiority.
A mythic journey starts. (Dietlind Bertelsmann)