All creation consists of accumulation and then subtraction. The through-line which has been my focal point is that of transmission, memory in all its forms, but without nostalgia, narration, image or citation.

Spain is neither the pretext for, nor a piece of fiction in this process, it is however at the center of, the origin of this project as a place for artistic exchange. Yes, of course we are working in our respective areas, toward the eventual development of this production, but this project invites us to concentrate on Spain as a sort of mental architecture, a source of inspiration. From that point the themes became clear to me, evolving from association to association.
First of all there is the title, which refers to Goya, technically he is a Spanish painter but in truth he is universal. With his well-known black paintings he became known as one of the founders of modern painting in the19th century. These were painted toward the end of his life in Madrid, at the time he was going deaf. Their astonishing origin can be analysed beginning at the meeting with the “Fantasmagories” of the Belgian merchant Etienne Gaspard Robertson.
What was also interesting about Goya was his ambivalence: he painted both paintings depicting reality, in a naturalistic fashion, then there were others he called “disparates” (follies) or “delirantes” which were prodigiously and notoriously odd, they distort reality without deconstructing it, entering the worlds of fantasy, dreams, nightmares and delirium.
And parallel to our ideas about Goya there are basic questions of cultural identity which arise, how does this happen? An entire people, wars, borders … memories both collective and individual, a vast declension.
My idea is therefore to explore these axes in the game of borders: the present (and its concreteness) and memory, both collective and individual. However the process I once considered clear, the progression of the dream toward delirium and folly – is no longer quite as obvious as I had expected. Perhaps there will be trips back and forth, phases.
Catherine Diverrès

Catherine Diverrès, formed with the school Mudra of Maurice Béjart until 1978, Catherine appeared in the middle of the Années 1980, in particular thanks to her duets with Bernardo Montet, met in 1979 in the troop of Dominique Bagouet. Montet and Diverrès leave to Japan in 1982-83, to follow the teaching of Kazuo Ohno. On their return in 1983, they found the company Studio DM.
In 1994, she takes the direction, with Bernado Montet, of the Centre Chorégraphique National de Rennes et de Bretagne which she directs alone since 1998.
Among her principal choreographies: San (2001), Échos (2003), Alla prima (2005), Blowin’ (2007).

choreography: Catherine Diverrès
artistic collaboration / stage design: Laurent Peduzzi
dancers: Fabrice Dasse, Julien Fouché, Emilio Urbina, Thierry Micouin, Mónica García, Pilar Andrés Contreras
musicians: Seijiro Murayama – percussions, Jean-Luc Guionnet – computer, Mattin – computer and voice
guest artists: Mónica Valenciano – choreographer, Chus Domínguez – video maker
lights: Marie-Christine Soma, Eric Corlay – assistant
costumes: Cidalia da Costa, Claude Gorophal – assistant
film of the fire: Thierry Micouin
production: Centre Chorégraphique National de Rennes et de Bretagne
in coproduction with Le Théâtre National de Bretagne – Rennes, Ville de Lorient – Grand Théâtre, Laboral Escena – Asturias, L’Association d’Octobre – Compagnie Catherine Diverrès
with the support of INAEM – Ministère de la Culture d’Espagne, DeMon – Ambassade de France à Madrid, Cultures France – Ministère des Affaires Etrangères e Ville de Rennes, Nuovi Mecenati, Nouveaux Mécènes – Fondazione franco-italiana di sostegno alla creazione contemporanea
thanks to: Institut Français in Madrid

within La Francia si muove