As a consequence of a thermic shock of minus 30°C during a winter tour of Canada, the dancer and choreographer Michèle Anne De Mey suddenly fell into a coma at Toronto airport and only regained consciousness after some time.
In her subconscious, this ‘near death experience’ – the scientific name for the phenomenon – summoned up a powerful vision of light and heat, which united her closest relatives in an overwhelming burst of love.
On the other side of the mirror – of life, or of death? – we are not far from the world of Lewis Carroll, with Alice’s existential and metaphysical questions in a land that astonishes and questions us. A mirror frame with the dimensions of the backcloth, possibly a veranda, provides the screen out of which the scene of the dream and the imagination emerges. This happens by means of images of landscapes and natural elements, filmed by Julien Lambert and Giacinto Caponio, and is accentuated by the music, which evokes the shores of darkness, based on the image of the ‘laments’ of Purcell’s Queen Dido.
It also evokes the fine line between the death throes and death in a chaotic no man’s land full of absurdity and nonsense.
Following the complex and successful development of a digital ‘nano-dance’ in Kiss & Cry and Cold Blood, Jaco Van Dormael and Michèle Anne De Mey, partners in life and work, continue on this fruitful path by experimenting with a new theatrical idiom.