June 2021<\/i><\/p>\n\n\n\n
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All Voices, Nameless and Singular<\/i> is a dance performance in which Emilie Morin uses choreography and commercial telecommunication technologies (Skype) to construct images of herself with her own personal laptop and iPhone. The lens of the \u2018conventional selfie\u2019 acts as the conceptual framework of her performed and performative experimentations. Morin explores how a conscious embodiment of the choreographed gestures can create new relations within her dancing body, between the body and the images, and between the audience and the images.\n<\/p>\n\n\n\n\n\n\n\n
Morin intuitively explores bodily exhaustion, which she associates, as a contemporary dancer, with the sense of accomplishment she feels, out of breath, after having dedicated herself entirely to the choreographic piece. Through her various performance projects (Trou (les beaux jours)<\/i>, Skype Duet<\/i>, super pose super impose toi<\/i>, F(L)(V) ocalized<\/i>),she develops a growing interest in the coexistence between her dancing body, simultaneously becoming exhausted and producing its own images, and the mediated images themselves.<\/p>\n\n\n\n
Her choreographic method focuses on the potential for change and transformation, positioned in action, rather than in an aesthetic or preconceived idea of what is to be represented. In All Voices, Nameless and Singular<\/i>, gestures take precedence over visual representations, created through the repetitive and accumulative movements of the body, and through the manipulation of her iPhone. It is specifically through this attention to movement that new relationships can emerge, that is, new relationships between the different bodies (human and non-human) involved in the choreography: her own body, the audience, the digital images and the technological devices.<\/p>\n\n\n\n