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têtes d’affiche ( top of the bill)

show for 6 dancers – creation 2015

Bodies meeting without seeing each others. Human beings deprived oh humanity. Lonely bodies, neurotic bodies, mechanical bodies. Robotic of modern times. Self negative, non-existence of each other. It seems we are looking at shadows, everlasting moves. Until a road cross another, until a body takes on another. Then we assist to the birth of a community which grows as a fugue of Bach : an organised cumulative of musical lines, melodies being here replaced by moving bodies.

We never know what parts of random chance make that people meet and grow a community. But it always happen this way : human beings meet, become easier to get on with, appreciate each other, tear each other apart. They seem to unite with each other to burst eventually.

No matter the name of the community, people, village, family, group or line for whatever desk, he/she is here, the human being, in desperate straits, on the watch, agreeing to live with others only if one fully exists within this group itself, that is to say : if one is the first.

First, the first, always being the first one, at the top of the hill, at the top of the podium, at the top of the bill. Loving, flattering, smiling at each other : just to take his/her place.

Complexity, difficulties in human relationships. Existing with each other is giving others a little of oneself, undress onself to dress on someone else, being naked and becoming fragile, vulnerable. No matter which group, it remains the same : champagne and tears. It always starts as a party and always ends as a drama.

Têtes d’affiche (top of the bill) , a little opera on the run for desire

« This show is the closer one of who I am, of the place I would like to tend as a choreograher . »
Bouba landrille Tchouda

“…Ce petit opéra dans la course aux désirs » n’a pas laissé le public indifférent. Véritable critique de nos comportements individualistes, dictés par l’envie de réussir à tout prix, ce spectacle dresse le portrait de cinq personnages aux caractères bien trempés ! (…) Chacun veut être celui qui va devant, le premier, le meilleur, l’indétrônable. L’égoïsme a repris le dessus, le mépris et la haine sont de rigueur, Le talent de Bouba Landrille Tchouda est de raconter tout cela sans parole, simplement au travers d’une écriture chorégraphique et scénographique pointue, subtile, cadencée. Il lui suffit d’un plateau presque nu, délimité seulement par une dizaine de chaises tournant le dos au public, d’une lumière un peu crue, parfois d’un jeu de clair/obscur, et d’une musique bien sentie, presque oppressante par moments, pour dire une certaine cruauté du monde. On ressort de la salle le souffle court, bouleversé et interrogé par tant d’hostilité émanant de nous-mêmes…”
Prune Vellot,  29 mars 2013, les affiches de Grenoble et du Dauphiné
“…Porté plus ou moins par les mêmes interrogations que dans ses précédents travaux (notre rapport à l’autre et les motivations profondes qui influent sur l’évolution de celui-ci), Bouba Landrille Tchouda en offre pourtant à travers cette nouvelle pièce une déclinaison inédite, qui passe par un retour à une forme plus épurée, mais également une approche plus émotionnelle et directe. En s’appuyant sur un groupe témoin, une communauté de fait ne reposant sur aucun lien préétabli, il observe, partagé entre empathie et ironie rieuse, la quête d’identité individuelle forcenée et ses différentes manifestations, du besoin inné de séduction à la compétitivité exacerbée, en passant par la nécessaire mise à nu et les risques qu’elle induit.
Résumé ainsi, cela pourrait paraître pesant, mais il n’en est pourtant rien. D’une part, parce que le chorégraphe n’adopte jamais la posture d’un moraliste, et de l’autre parce que la fluidité de la forme et l’humour discret mais omniprésent font passer avec finesse des notions pourtant guère évidentes à représenter. Intense, subtil, intelligent et toujours traversé par une vitalité salvatrice, le langage des corps tel que le pratique Bouba continue de nous séduire…”
Damien Grimbert, 29 mars 2013,  le petit Bulletin
Il aime quand le mouvement éclipse le verbe. Quand l’homme se passe de mots pour faire jaillir l’émotion. Sans explication aucune. Juste par l’intensité d’un regard, la force d’une interprétation. « La danse, ça touche en plein coeur », lâche Bouba Landrille Tchouda . Le chorégraphe avoue volontiers s’être fait harponner. Il ne triche pas avec son art sur lequel il s’appuie pour distiller son message. Dans Têtes d’affiche, une création 2012 qui allie danse hiphop et danse contemporaine, le fondateur de la compagnie Malka a réuni six danseurs aux origines métissées et aux influences multiples. « Ce spectacle est celui qui se rapproche le plus de ce que je suis et de là où je voudrais aller en tant que chorégraphe », glisse-t-il.  Dans cette pièce qui s’ouvre sur une file d’attente composée de corps solitaires, névrosés, fantomatiques, Bouba Landrille Tchouda propose  une réflexion sur la complexité et la difficulté des rapports humains. Ceux qui font qu’en dehors de chez soi, on est « en mode guerre », bouillonnant, sous tension. Qui rappellent que chacun représente « un danger potentiel » pour autrui. « Je crois en la capacité des êtres humains à vivre ensemble malgré les différences, martèle le chorégraphe. On essaye souvent de nous faire croire que c’est difficile, mais il y a 10 000 raisons qui font que j’ai envie de prouver le contraire. » Bouba Landrille Tchouda se défend de livrer la solution. Avoue qu’il ne l’a pas de toute façon. Mais se plaît à afficher sur scène ces différences, à « chercher des points d’accroche, des petites choses qui nous rassemblent » et qui à ses yeux ne sont que richesses. (…)
Joan Moïse, vendredi 18 janvier, le Républicain Lorraine 

crédits : Bernard Clouet


chorégraphie bouba landrille tchouda / interprétation sophie carlin / tom guichard / nicolas majou / mélisa noël / jean-yves ranaivoson / bouba landrille tchouda dramaturgie guy boley / lumière fabrice crouzet / costumes claude murgia / musique gilles sornette / the kronos quartet laurent perrier / murcof / aleph-1 / alexander malter / montage musical bouba landrille tchouda / attaché de presse olivier saksik / diffusion mitiki – bertrand guerry

coproduction  château rouge – annemasse / ccn de créteil et du val-de-marne / cie käfig / ccn ballet de lorraine

Calendrier 2017- 2018

du 7 au 30 juillet (relâche 13,20 et 27)

festival off Avignon 2017 (84) – France
17h25 à la Chapelle du Verbe Incarné
salle Edouard Glissant

6 février 

L’ilyade – Seyssinet Pariset (38) – France