Flora Détraz HURLULA

[Dance]

Both film and choreographed concert for a trio, human scream and animal scream, the HURLULA diptych uses the scream as its raw material. For the choreographer Flora Detraz, who has explored a wide range of screams and looked into this sound which we let out, these emotional outpourings have the capacity to transfigure our bodies.

Whether it be out of rage, joy, pleasure, fear or sadness, it is difficult to identify a scream just by listening to it. Rather than asking why we scream, Flora Detraz poses the following question: where does the scream come from? What effect does it have on the body? An investigation consisting of two sections, one stage-based and the other cinematographic, her latest piece takes an in-depth look at the act of screaming. Onstage, accompanied live with audio feedback swathes and percussion, the dancer sets up collisions between the sound-based nuances of the screams. She gives herself over to clamours which seem to arise from the depths of her soul. Onscreen, she takes her inspiration from the scream which bursts out when we find ourselves alone in a natural environment, and makes it dialogue with the surrounding vastness. In a forest or on the mountain, a character has its back to us, and round mirrors reflect fragments of bodies and gaping mouths, opening up other dimensions. HURLULA, a shortened form for the human scream and that of night birds, has a liberating drive which pushes us towards the outside, a world in which the invisible becomes visible.