Company Li(luo) - Camille Mutel

Pourtant chacun tue ce qu'il aime

Concept and choreography : Camille Mutel
Dancers: Kerem Gebelek Philippe Chosson
Dramaturgy: Thomas Schaupp
Lights: Philippe Gladieux
Costumes: KASPERSOPHI
Scenography: Kasper Hansen
Sound design: Jean-Philippe Gross
General manger: Gildas Goujet
Choreographic assistant: Caroline Simonin
Production manager: Aurélie Martin
Administrator: Estelle Saintagne

Co-productions : CCAM — SN de Vandœuvre-lès-Nancy, Le Carreau — Scène nationale de Forbach et de l’Est mosellan, 3 bis f., Centre d’arts contemporains d’intérêt national à Aix-en-Provence, Klap maison pour la danse, Marseille, Pôle Spectacle Vivant/CA Saint-Dié-des-Vosges,
Avec le soutien à la résidence des Ateliers du Milieu Atelier de fabrique artistique
Avec l’aide à la recherche en arts du geste de la DGCA
Accueils-studio :  CCN - Ballet de l’Opéra national du Rhin délocalisé au Théâtre du marché aux grains, Bouxwiller, VIADANSE, Direction Fattoumi-Lamoureux CCN de Bourgogne Franche-Comté à Belfort, CCN - Ballet de Lorraine

Pourtant chacun tue ce qu’il aime [However each person kills the one he or she loves], is the next creation by Camille Mutel, which is part of a cycle of dances called La Place de l’autre [The other’s place]. Beginning with Not I, an intimate, minimalist solo which little by little takes a sculptural shape; this quadrilogy explores movement as something connecting us to another person. In this new duo Camille Mutel creates an autumnal piece, about the famously transitional season which sees some things die, some of which will be re-born later. She is inspired by warm colors, about the idea of what can be beautiful in loss, in the process and possibility of relief. She based her research on the fact that trying to stay alive can imply the death of other species, notably in the movements involved in having to kill in order to eat.
She did research in rural villages, meeting their inhabitants and discovering the rituals of their lives, requiring them to kill a lamb or a rabbit, those involved in flyfishing, but also in harvesting and planting. By stepping a little distance away, by transposing and adapting this movement, it becomes a choreographic act which embodies the interdependence between living systems..
Having studied the Japanese tea ceremony at great length, Camille Mutel moves her gesture as a choreographer toward that of an artist of gesture. Her current work examines the compositional process of a secular rite, how to transform an everyday gesture into an artistic one. She anchors her own project in the Vosges, her home region.
This project involves examining, through specific movements in the rural landscape, the link between man, animals, and food. Hunting, fishing and livestock farming trigger a number of ethical questions in current contemporary society. For several years now it has been illegal to kill a pig anywhere except in a slaughterhouse. And for various reasons, doing this sort of thing at home disturbs certain people, it is a thousand year heritage which is disappearing little by little. Camille Mutel will be encountering men and women who are still doing these sorts of actions in a rural setting. Meeting hunters, farmers, amateur and professional fishermen and women: the choreographer will attempt to elicit exchanges by attending regional events, farmers’ markets and local festivals.
Initially these meetings are meant to ascertain more clearly the issues involved in addressing the relationship involving animals, specific movements, and food.
Later on, Camille Mutel will ask certain of those she has interviewed to teach her their practice, their movements.

Camille Mutel

Initially trained in dance movement by Hervé Diasnas, Camille Mutel experienced a seminal shock at the age of 20 when watching a butoh dance performance, which triggered a radical change in her approach to the body and to movement. A few years later she could be found working with Masaki Iwana, in a critically acclaimed solo Le Sceau de Kali [The mark of Kali].
She began performing on the “alternative” circuits in France, Italy and Japan, did some striptease dancing and posed for photographers. Her principal focus became the relationship to the self and to others.

Her solo Effraction de l’Oubli [Crime of forgetting] in 2010 was a step into institutional recognition and acclaim with the company Li(luo), which she directs. Her other creations (Go, go, go said the bird — human kind cannot bear very much reality in 2015 and Not I in 2020) made it possible for her to work with a team of collaborators, connecting on a human as well as artistic level, with whom she continued to explore the radicality of her movement vocabulary. She was awarded the prestigious Hors les murs grant in 2014 from the Villa Kujoyama, and also received support from the Beaumarchais Foundation in 2019, and her national and international reputation continues to grow.