Versant de son mythique ballet Ulysse, la nouvelle création de Jean-Claude Gallotta éclaire la figure protéiforme de son épouse vertueuse jusqu’à la ruse. Une ode sensuelle et ludique à la stratégie disruptive de la danse.
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00:00:41 -C'était quand même une histoire d'amour.
00:00:44 Si.
00:00:48 C'était une histoire d'amour.
00:00:52 Mon projet, c'était ça.
00:00:57 Danser une histoire d'amour qui n'en finit pas.
00:01:00 Au-delà de l'attente, au-delà du temps,
00:01:04 au-delà de la vraisemblance.
00:01:06 Une histoire pas raisonnable,
00:01:10 qui n'a aucune chance de durer.
00:01:13 Mais qui dure.
00:01:16 Bien après ceux qui l'ont vécu.
00:01:20 C'était simple.
00:01:23 Et beau.
00:01:25 ...
00:01:28 Et puis d'autres questions sont venues.
00:01:31 Celles du temps présent.
00:01:34 Celles auxquelles on ne sait plus répondre.
00:01:37 Trop proches, trop neuves.
00:01:39 Qui rendent caduques l'ordre ancien
00:01:42 qui jusqu'ici nous avait pourtant bien servi.
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00:01:49 Alors j'ai demandé à la scène de m'aider.
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00:01:54 Une fois de plus, elle s'est montrée radicale.
00:01:57 Je n'ai pas pu négocier.
00:01:59 Elle m'a dit...
00:02:01 "Ulysse, laisse-le à Itac dans son palais confiné
00:02:06 "pour voir si lui aussi sera des fers
00:02:09 "chaque nuit son ouvrage de chaque jour."
00:02:12 ...
00:02:17 J'ai emmené Pénélope
00:02:19 d'île en île
00:02:22 pour qu'elle mène ses propres guerres,
00:02:24 pour qu'elle suive ses propres désirs.
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00:02:31 Elle aussi va mettre du temps à revenir.
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00:02:37 C'est de bonnes guerres.
00:02:39 L'amour, c'est de bonnes guerres.
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01:16:50 -Je danse toujours dans le silence.
01:16:53 Les collaborateurs regardent, comme un film muet,
01:16:57 la musique, le décor, les lumières, les costumes,
01:17:02 sur ce que j'ai fabriqué dans le silence, dans un studio.
01:17:06 C'est un peu le squelette que je donne aux collaborateurs.
01:17:11 J'avais fait un petit ballet avec Georges,
01:17:19 qui nous suit depuis toujours,
01:17:22 et que j'utilise dans les performances.
01:17:25 Un monsieur, Georges, qui a 100 ans.
01:17:28 Et puis, Béatrice, qui a eu un cancer du sein,
01:17:32 et qui revenait un peu à la vie.
01:17:35 Ils m'ont dit qu'on pouvait continuer,
01:17:38 qu'il y aurait quelque chose à faire avec Pénélope.
01:17:41 Je me suis dit que c'était la bonne idée de les filmer.
01:17:45 Comme ça, ça me faisait les transitions
01:17:49 pour les différentes parties.
01:17:52 Et puis, je me disais que ça peut être intéressant
01:17:56 d'imaginer que ça peut être vaguement un Ulysse,
01:17:59 qui serait pas revenu très vite, qui aurait vieilli,
01:18:02 et puis Béatrice, qui serait comme une Pénélope d'aujourd'hui.
01:18:06 J'ai demandé à Clodan-Ribuffard d'écrire là-dessus.
01:18:09 Donc, ça donne quelque chose à la fois de documentaire,
01:18:12 mais aussi poétique, sur l'amour, le vieillissement,
01:18:17 comment on continue à vivre, comment on continue à s'aimer.
01:18:21 Je me disais que tout ça rassemblé, ça pourrait faire quelque chose d'intéressant
01:18:25 de l'avoir en film, entre les parties.
01:18:28 Nous n'avons plus les mêmes corps.
01:18:31 Qu'avons-nous fait des anciens ?
01:18:34 Je veux dire, qu'avons-nous fait de nos corps,
01:18:37 désirés, caressés,
01:18:41 greffés, possédés ?
01:18:44 Il paraît qu'une seule nuit
01:18:47 pourrait suffire à nous les rendre comme ils étaient.
01:18:50 Ce serait bien.
01:18:53 Il y a des histoires qui le racontent.
01:18:57 Clodan-Ribuffard, il écrit comme je danse, en fait.
01:19:02 C'est-à-dire que ce sont des mots qui permettent plusieurs histoires.
01:19:08 Comme ça, ça évite d'avoir un seul sens,
01:19:11 et ça permet à chacun, un peu comme avec la danse,
01:19:15 d'imaginer, de se transposer, de vivre avec.
01:19:20 Parfois, comme il ne sait pas bien ce qui va se passer,
01:19:24 il me demande d'écrire quelque chose.
01:19:27 J'écris un peu à la va-vite pour lui donner des pistes.
01:19:30 Comme ça, ça lui permet d'avoir une base
01:19:33 et de comprendre un peu de quoi on va parler.
01:19:37 Après, il amène tout son talent.
01:19:40 Pour moi, c'est un régal, chaque fois, de le lire.
01:19:44 C'est vraiment cette collaboration intime
01:19:47 entre la danse et le mot.
01:19:50 "Jamais nos vies se résumeront à attendre
01:19:54 "la mort et l'heure du repas.
01:19:57 "Nous sommes ce que nous dansons. C'est tout."
01:20:00 Je crois que je suis très influencé par le cinéma.
01:20:06 C'est un voyage où il y a des moments émotionnels,
01:20:09 des moments dans le silence, des moments psychologiques.
01:20:14 J'aimais bien ce rythme.
01:20:17 J'essaye de faire ça avec ma danse.
01:20:20 C'est un travail de recherche, la danse contemporaine,
01:20:23 qui est des fois un peu difficile.
01:20:26 Avec tous les éléments, les interprètes, la musique,
01:20:29 on peut créer de l'émotion.
01:20:33 Mais j'essaie toujours que cette émotion ne soit pas gratuite.
01:20:36 D'ailleurs, quand j'ai un problème de choix,
01:20:39 je choisis toujours l'aspect recherche plutôt qu'émotionnel.
01:20:42 S'il y a d'émotion, c'est le petit plus.
01:20:45 ...
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01:21:30 -Je voulais être peintre.
01:21:33 J'aimais bien Cézanne, Pessoa,
01:21:36 les gens qui restent dans leur monde.
01:21:40 Je me suis dit comment allier les deux.
01:21:43 C'est ce que j'ai créé.
01:21:46 Il y a eu la décentralisation culturelle.
01:21:49 Cette maison de la culture, née à Grenoble en 68,
01:21:52 Malraux fait une révolution.
01:21:56 Il dit que tout ce qui est de merveilleux à Paris,
01:21:59 il faut qu'on le voit en province.
01:22:02 Il crée des maisons de la culture un peu partout en France
01:22:05 pour amener les choses de Paris vers la province.
01:22:08 Et il y a un personnage important qui vient de disparaître.
01:22:12 Il y a eu un renommé, un Grenoblois, Bernard Gilman.
01:22:15 Il dit qu'il faut aller plus loin.
01:22:18 Dans la province, il y a aussi des artistes.
01:22:21 Des artistes aussi puissants qu'à Paris.
01:22:24 Ils peuvent partir de Grenoble pour aller à Paris.
01:22:28 Il a fait l'inverse. Il l'a fait pour moi,
01:22:31 pour Georges Lavodan, un homme de théâtre reconnu.
01:22:34 Du coup, il y a eu cette inversion.
01:22:37 Il faut lui rendre hommage
01:22:41 à cette aventure.
01:22:44 J'ai pu rester à Grenoble et faire mon symbole artistique.
01:22:47 On peut rester dans son lieu.
01:22:50 Peut-être qu'à une autre époque, ça n'aurait pas été possible.
01:22:53 Il fallait aller à Paris, à New York.
01:22:56 J'ai pu tout faire depuis Grenoble.
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01:25:04 [SILENCE]