In the beginning, might it be the gesture reduced to the essential: two bodies, two kinds, two colours, two dimensions, two reigns, the same solitude, the same persistent desire that it continues and that it starts again. The same deep desire to be transformed by the other, to be moved by the other. As if everything only existed to be troubled or crossed. Might it be two humans and a raven pie, embarking each other in a strange sensitive and poetic ballet, where each body leaves a trace, where each story is written.
First part of a diptych, Là is a prologue, a crude and naked gesture that circulates between bodies and voices, rhythms and worn dances, drops and momentums. Nothing settles, nothing stays, it all rolls away. A prelude to Falaise, this first piece introduces a language without words nor stops, happening under our lives. It turns inner space upside down, like a glove, inviting us to observe our behaviours in the changing surface our gestures offer us. Zooming on the present of here and now, Là reinvents our ignored gestures, our impulsive gestures, gestures of jerks, spasms, screaming, the gestures of life anyway, of life at all cost.
In French, Là can mean 'here', 'there' and/or 'now'.
Creator of Baro d’evel, Camille Decourtye is the author and performer of all the company’s shows. From her childhood with horses, made of traveling in trailers and on horseback, she keeps the need to invent a way of life and research that will meet her need for movement and encounters. This led her to train in the national circus schools and to develop a work of experimentation on movement and voice. She continues to refine her bond and collaboration with the animals with which she lives based on the principles of ethology.
Creator of Baro d’evel, Blaï Mateu Trias is the author and performer of all the company’s shows. Born in Barcelona, he grew up in the post-Franco Catalan artistic currents, with two clown parents. With Circ Cric, tours with Tortell Poltrona and expeditions with Clowns without border, he developed a taste for the crossroads of languages. He left at the age of 16 to train in the circus arts in France and then settled there.