![]() Twin Houses incorporates five dummies which Nicole Mossoux manipulates on stage. In the same way we discovered that “pure” choreography prevented the body from adequately exploring the intimate side of being, blocking access to the inner mind where we can truly lose ourselves.’ ‘Text led to a structured explanation of an inexplicable action what we could call madness and incomprehensibility suddenly became too rational. ![]() Mossoux and Bonté rejected text, not deeming it an appropriate tool to attain the intimacy they strove to achieve in their work. Patrick explains: ‘We decided that by deviating from choreographic traditions and by avoiding text-based traditional theatre we could evolve a style which could attain to the performer's misty zones of sensibility.’ Their style evolved out of dissatisfaction with previous working methods. We have often tried to give a name to our style of theatre but nothing satisfies us really.’ ![]() ‘We start off with so-called “intentions” or “states of being”, mainly in a theatrical context, which we subsequently develop through movement. Patrick Bonté categorises the company's performance style as ‘theatre-dance' or 'theatre of images'. They have been collaborating since 1985 and work with a shared desire to find a new performance language to express the themes they develop in their work. ![]() Nicole Mossoux comes from the world of dance and Patrick Bonté's background is in the theatre. The piece is a seamless blend of movement and illusion driven by a haunting soundtrack conjuring suspense and eerie secrets. Actress and dancer Nicole Mossoux and Patrick Bonté first appeared at LIMF with The Last Hallucinations of Lucas Cranach in 1992.
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