Léa Rault (France) studied literature and language sciences in Rennes, and realised radio documentaries in South and Central America until 2005.
In 2006, worked as a coordinator for the Toronto International Dance Festival (TIDF) in Canada. Back in France, started to collaborate in different dance and music projects and graduated from the Contemporary Dance Conservatory of Rennes in 2010. The same year started PEPCC in Lisbon.
Since 2012, runs several creations and courses for non-professional dancers. Her parcours is punctuated by multiple collaborations with several artists and structures.
Works as performer for Christine Le Berre, Cédric Cherdel and Catherine Legrand.
Léa is currently associated with L’L – Bruxelles, for a long term research.
In this piece, Pilot Fishes together with composers/musicians Jérémy Rouault and Laura Perrudin take on the story of four people finding themselves enclosed for undetermined period of time.
The Siberian Trombinoscope is a spoken, danced & sung series of portraits, actions and interactions based on rules, codes, despairs and other contemporary miseries that orchestrate this world.
We were curious to discover the dreams and desires of these four. Especially because we knew none of it will ever become real.
We imagined something else for them.
We wanted to see them adapt.
Keemi I love walls. It is safe and there’s something to lean against.
LWO There’s no way out. Just lay down and wait… It’s a pity there’s no WiFi.
Péné I don’t understand why I am here. I haven’t done anything wrong. Every experience, no matter how bad it seems, holds within it a blessing of some kind. I’ve got to tell them… For the sake of our community!
Cowboy One should choose attitude over experience. Save one’s face! Ahah! If you really want to do something, you’ll find a way.
The hardest was to get rid of their memories which would return persistently.
On my way, I compile facts&gestures of resistance&strange fights. They come from all sides. I review, organise, assemble them. It is a private collection.
What matters is continuous tentativeness. Anyway, results leave us sceptical, we play. The idea is not to get caught&catch up some time for oneself.
C’est confidentiel. is a dance to deal with what is around, at the moment. It is ungraspable, multiple&contradictory.
Simultaneously concrete&measureless, it is rooted in the ground&head in the stars. It is changing&comes back periodically to the point where it departed, like a revolution.
A cycle. A practice.
As actions we take in order to protect ourselves from the undesirable.
As precautionary measures which, when push comes to shove, might prove themselves useless.
As fictions we fill our lives with instead of accepting that we are going into the unknown.
Fear is where it all comes into being.
Fear of disappearance, loss or harm to loved ones is not only a driver of exaggerated preventive measures, but is also a source of most forms of obsessive-compulsive disorder and superstitious behaviour.
To worry is to pretend that we know or control what we actually don’t.
In Life Insurances we explore the comic potential of all these vain, useless and absurd actions and coping mechanisms that structure our presence in the World.
Depuis de nombreuses années, je dialogue avec ma soeur Agathe, circassienne et trapéziste, sur nos disciplines respectives.
Un jour, je l’ai vu se reposer sur son trapèze, et ça m’a parlé plus que toutes les prouesses techniques qu’elle venait de réaliser. La voir habiter son agrès m’a émue. C’était comme s’ils ne faisaient qu’un. Comme si elle avait toujours été là-haut.
Pour En Haut En Bas, c’est cette image qui est incrustée dans ma rétine.
Je suis inspirée par la suspension d’une personne dans les airs, avec en contrepoint une personne au sol. Moi donc. En-bas. Qui dois ériger mon regard pour la voir.
Pour cette forme courte (30 minutes) jeune/tout public, j’invite ma soeur à habiter son trapèze comme moi j’habite le sol, comme point de départ de la définition de nos corps, de nos mouvements et interactions.