La Croix: You present Heaven Hotel an original creation, stamped “corona-compatible”. What does it consist of?
Christophe Garcia : The principle of “corona-compatible” projects was launched in Angers by Thomas Jolly, the new director of the National Dramatic Center, but only in the field of theater. I didn’t want dance to be absent from this movement. The “corona-compatible” formula is reassuring for the public and artistically, it is an opportunity to explore new forms.
Heaven Hotel is created at the Saint-Julien hotel, in the city center of Angers. The spectators, one by one or in groups of two, go from room to room to meet the dancers. In each of the rooms, a solo or duo performance takes place. We occupy six rooms but each spectator, during a journey of 1 h 20, enters only five of them and finally no one sees the same spectacle.
NIEBO Teaser from christophe Garcia on Vimeo.
How did this idea of playing in a hotel come about?
C. G. : It’s a desire that ran through my head for a long time. During and after confinement, by dint of canceling our shows – more than 60 dates in total – I realized that I had a responsibility towards my dancers. With the uncertainty still hanging over the start of the school year, a project was needed for the company and I brought out this old dream.
→ READ. After the coronavirus, the dance resumes very slowly
In my life, as I toured, I spent a lot of time in hotels. I find it a fascinating universe. They are home to love stories, experienced in broad daylight or, on the contrary, clandestine. They are also places of solitude, chosen or endured … The hotel is synonymous, for me, with multiple imaginations.
The shape of Heaven Hotel seems radical. Is the usual relationship between the public and the artist upset?
C.G. : Totally, it’s really a bet! For several years, as a spectator, the frontal relationship, usual in classic rooms, has bored me. I’m looking for something else, a special relationship. In the closed door of a room, the proximity between the spectator and the dancer modifies the work, as it is experienced on one side or the other. This intimacy exudes a special energy. The crisis forces us to reflect, to find new ways to create… I am happy to see this piece succeed, even with its imperfections: it proves that it is possible to continue despite everything.