FAQ: Benoît Lachambre und Fabrice Ramalingom
© Emilie Renck
What was the first move you started the day with?
Benoît Lachambre: As I am waking–up, the first thing I do is perceiving the world around and within myself.
Fabrice Ramalingom: When I wake up, my first move is to get out of my bed and to open the windows, feeling the fresh air, listening to the city starting the day, and feeling I am a part of it.
Where is the line between movement and dance?
Benoît Lachambre: Everything dances. The definition of dance depends on who is recognizing it and when it gets recognized as dance. I would even like to consider the dance of my thoughts, of my dreaming body, of my beating heart, of my fluids and my energy as dance.
Fabrice Ramalingom: I think it is just a question of consciousness, of consideration. Also of intention, decision. If you look at a movement and you pay attention to the qualities of the weight, of the speed, of the strength etc. – this state of attention can decide about if it is dance or not.
Why do you dance?
Benoît Lachambre: Because I am alive and because I am in motion by nature, like everything else.
Fabrice Ramalingom: This simple question is so complex because if I try to answer it deeply and sincerely, I will have to talk about my intimacy, something related to my childhood. During my life, my career, and now with the ageing of my body, my motivations have changed. Nowadays there is a way to connect with the world, with the others. And because of this, there is a way to connect with myself. It’s a perpetual search of the body and its changes.
© Emilie Renck
What is your inspiration when you do choreographies? What was the inspiration/starting point for the work you show at DANCE ?
Benoît Lachambre: Being in the moment with what is happening and working towards synchronicity and empathy. Also observing what is choreographing the moment. I take part in it. We are constantly being choreographed. Meeting with Fabrice and working together on transformative states, energetic knowledge, fields of presence and communication through languages, real ones and made-up ones. We also decided to travel together and went swimming with dolphins. The big Island of Hawaii taught us and sent us into a research that got fed by the experiences we had together. The question was, how to make this a performative experience and how to have a certain sense of humour in it.
Fabrice Ramalingom: My deepest inspiration is the idea of emancipation. I am deeply moved by people who try and manage to emerge from a situation, or who take the responsibility to liberate themselves.
How do you prepare for rehearsals? Do you come with a detailed concept/score or do you develop while improvising ?
Benoît Lachambre: I come to rehearsals with areas of works and approaches that are quite singular and precise, yet I have to leave a lot of room for improvisation for these elements to exist and manifest in creative bodies.
Fabrice Ramalingom: Both. It depends also on the project. Usually I arrive at the studio with a lot of different ideas, sometimes with detailed scores, sometimes with scores with blanks, sometimes with questions to share with my collaborators. And then I catch everything that can appear from improvisations or compositions.
If I share the signature of a project like Hyperterrestres with Benoit Lachambre, the preparation is to trying to build the same space where we can develop personality and the specificity of each one. To find the common interest and THE question from where we can start to work.
What about the ideas and personalities of the dancers – do you want to integrate/show them? If yes, how? If not, why?
Benoît Lachambre: I believe that we are actually always living simultaneously in many personalities while depending or not on restrictive definitions of the self. So if the definitions appear to me as being too restrictive then I am not interested in them since they restrict my person as well. I want to work on accessing malleability and willingness to transform and recognize shifting awareness within oneself and with others in inclusion to the shifts in our surroundings.
Fabrice Ramalingom: As I said in a previous answer, it is a collaboration. Then naturally dancers who I work with propose me ideas and I encourage them to be who they are on stage.
* special question:
If you could take Hyperterrestres, its aesthetics and specific "logic" as a starting point for constructing a whole new world – how would this world look like and would you like to live in it?
Benoît Lachambre: In Hyperterrestres some segments are lived with an application of stress. Those are performative tools to address a certain kind of urgency, since change is strongly needed and in process of survival. So that stress is somehow inherent in our day to day life but it can vanish to offer a better general living condition. But yes!!! Generally I do wish to live in an environment closer to Hyperterrestres than the one that is imposed on my life by the social, political and economical constructs.
Fabrice Ramalingom: For me Hyperterrestres is a metaphor of our way to talk about our dance transposed into an aesthetic, with references of the science-fiction films from the 60s and 70s. In the show we present another reality (like another planet) where people can connect with their animal part and they can develop the capacities of their brain or of their heart to feel the frequencies of the world or of others. We do that in our dance practice. Feeling the world and the others with our dancing skills. I am sure it is the same for people who practice yoga or other body practices. But it remains confidential. Interrupting the representation to question the role and the responsibility of each of us in the world, to be aware of this, to build a dream together. This is political posture, isn’t it? And we need it now.