Observing the movements of others may generate proprioceptive, kinaesthetic experiences. Noé Soulier sought to explore that aspect of motion perception by working using movements determined by practical goals: hitting, avoiding, reaching, etc. Unlike movements determined geometrically or mechanically, dancers share a vocabulary of gestures with the audience. We seldom think of forming a line with our leg or dropping the weight of our arm, while most of our daily movements are driven by practical goals: to reach a certain place, take hold of an object, avoid a piece of furniture, etc. By relying on a shared vocabulary we can emphasise kinaesthetic resonance and empathy.

“Whether seen on stage, within the walls of a contemporary art foundation or inside a kitchen garden (of the King), Noé Soulier’s gesture approach is always puzzling. After studying in the Conservatoire de Paris, the National Ballet of Canada and finally in P.A.R.T.S. Brussels, Soulier questions “our perception and interpretation of gestures using multiple devices”. Choreography, performance or test, everything makes sense for this movement archaeologist. A believer of discrepancy used as a major art, this choreographer – who won the first prize of Danse Élargie competition in 2010 – impresses his signature without ever forcing it through. When he discusses this creation for six performers Soulier mentions the observation of the movements of others, “a vocabulary of gestures which dancers share with the audience”. It is therefore a matter of working on sequences of movements made of preparations for other movements… “which never occur”. This continuous ellipse makes the dancer’s intentions become visible since it affects the gestures that come before the achievement of the absent goal.” We can guess Soulier’s intention in between intellectual construction and shared joy. To which another source of inspiration, Brazilian Jiu-Jitsu, is added. “We are working on actions directed towards the body of the other by relying on such martial art”. There Soulier plays with the various visual density levels using sudden contrasts or gradual development. Forever searching, his dance questions our certainties”.

Philippe Noisette – excerpt from the programme of the Festival d'Automne à Paris
Updating: January 2016

Born in Paris in 1987, Noé Soulier studied at the National Ballet School of Canada and PARTS in Brussels. He received a master degree in philosophy at La Sorbonne University (Paris IV) and took part in Palais de Tokyo’s residency program: Le Pavillon.
 

In 2010, he won the first prize of the competition Danse Élargie, organized by Le Théâtre de la Ville in Paris and Le Musée de la Danse with the trio « Little Perceptions » in which he started an ongoing research on ways of defining movement. With the solo « Movement on Movement » (2013), he dissociates gestures from speech to question how they collaborate to create meaning.
 

In 2014, he explored the syntax of ballet vocabulary with « Corps de ballet » for the CCN – Ballet de Lorraine. In « Movement Materials » (2014) and « Removing » (2015), he develops further the research initiated with Little perceptions on the perception and interpretation of movement.
 

In October 2016, he publishes « Actions, mouvements et gestes », a choreographic research that takes the form of a book, with the press of the Centre national de la danse.

In July 2020, he has taken over the direction of the Centre national de danse contemporaine d’Angers (CNDC).
 

Source: CNDC Angers

www.cndc.fr

Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).