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THE PIECES 

Steak House (2005)

Presentation

Premiere 3 March 2005 Théâtre Arsenic, Lausanne (Switzerland)

70 minutes

Choreographer Gilles Jobin
Dancers Jean-Pierre Bonomo, Niki Good, Marie-Caroline Hominal, Gilles Jobin, Susana Panadès Diaz, Rudi Van Der Merwe
Music Cristian Vogel
Music machine Angus conception Cristian Vogel, realisation Simon Jobin
Source of vinyl recordings Joe Robinson: guitar / Spoo: beats
Set Design Sylvie Kleiber Assistant to Sylvie Kleiber Victor Roy
Costume design Karine Vintache Assistant to Karine Vintache Julie Delieutraz
Lighting Frédéric Richard

Production Gilles Jobin / Parano Fondation - Lausanne(CH)
Coproduction Théâtre de la Ville / Paris - France, Spielzeiteuropa / Berliner Festspiele / Berlin -Germany, Teatro Comunale Di Ferrara / Ferrara - Italy, Théâtre Arsenic / Lausanne - Switzerland, Danse à Aix / Aix en Provence - France, Tanzquartier Wien / Vienne - Austria
Supports Canton de Vaud, Ville de Lausanne, République et canton de Genève, Ville de Genève, Pro Helvetia Arts council of Switzerland, Loterie Romande, Sophie and Karl Binding Stiftung.

Gilles Jobin benefits of a triennal associated support (2007-2009) from the City of Geneva, the Canton of Geneva and Pro Helvetia
Gilles Jobin is an associated artist of Bonlieu Scène nationale, Annecy


Statement of intent
Gilles Jobin, september 2004

The idea is to take an actual space as starting point. Walls and furniture, blankets, everyday objects. An inhabited space, shared in close proximity with others.
I basically try to imagine an engine that produces a constant flow of images, a restricted space that conjures up images. Dictated by the context, the lifelike situation and the restricted space, the human beings inhabiting this space, live together, share things and interact with their environment. They behave in an absurd way, yet seem to do so on purpose.
No chaos however, rather a sense of disorder, disorder and proximity. In this space normal rules of behaviour do not apply. By treating abnormal actions in a normal way, the spectator gets simultaneously sucked in and kept at bay. As in a cartoon, the action becomes surreal, building up through a dream-like process.
This logic of absurdity is certainly the path to be followed.
Then the space is deconstructed, the bodies spread through the space. What this will lead to remains to be seen.