Yasmine Hugonnet interview

    Yasmine Hugonnet--LeRecitaldesPostures interview with Yasmine Hugonnet: ‘It’s not like you should understand the image I wish to show you but you may let your imagination be free to wander

    Tell us a little bit about yourself:

    I’m a dancer, choreographer, researcher and more recently a ventriloquist. Born in Switzerland, I studied ballet, then moved to Paris to the National Superior Conservatory, and later in the Netherlands I did a Masters Degree in choreography. Between 2000 and 2009 I worked on various projects in several different countries, without being part of a company or having any subsidy. I mainly collaborated with Maxime Ianarelli, we worked as a loose collective working with local artists wherever we were.

    Called Synalephe, we developed projects and site specific work and, very importantly learned from each other. Synalephe comes from Greek, the idea of two different entities coming together. Our work evolved in a sort of joyful idealism, artists from different backgrounds trying to create work together. In Taiwan, for example, we worked with blind artists, performing in the street, on trains, in galleries etc, not in theatres. We experimented with interactive performances, involving public participation. In Ljubljana, Slovenia, thanks to an artistic residency for young performers I was able to create a trio work, Re-play, with a wholly local team. We were invited to perform it at ImpulzTanz in Vienna.

    In 2009 I created my company Arts Mouvementés in Lausanne Switzerland.

    You’re performing your work Le Récital des Postures at the Lilian Baylis Studio in the new year – tell us more about the work and your creation process:

    The Récital des Postures was premiered in March 2014 and since then we have toured this production extensively. It is a very important piece for me, almost a sort of manifesto, as it emerged after a long period of solitary research where my interest in tools for composition became very sharp.

    The Récital is a form of concert for one musical instrument; here the instrument is the body. In a poetic way I think the postures are ‘singing’. They are not only providing a visual effect but at another level also vibrating and in the apparent stillness, they are producing movement in the spectator’s imagination.

    The motif of research was that we should perform with intensity and abandon, in unison. Abandon isn’t just a physical state, it could be a mood, a dream, a letting go, a sensuous drift towards sleep. Our movement went towards the sensuous, towards almost violent upward motion.

    I like to think of the performance as a choreographic rite: in the vibratory space between the performer and the spectator, one can witness the birth and the construction of a body. But this body is not that of a dancer, it is a symbolic body, archetypal, social, as well as a place of communication….

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