For me, writing this solo was like attempting the impossible: how could one body (mine, in this case) evoke the history of dance; take on different styles and periods, and also make reference to characters both masculine and feminine?
I chose to cite those artists whose works have influenced my own artistic journey, then to link them together chronologically; setting myself the game rule of going from pre-history to present time and to prioritise my vision as choreographer as I’m not an art historian.
I was more particularly attached to the choreographers of the 20th century; their work not seeming to have been so well understood by the general public as those from the classical period. In this way, I wished to weave bonds - a logic around all these choreographic adventures, showing the dynamic which brings an artist to life when he constructs a work in continuity with, or in reaction to preceding works. Each sequence is an homage which can’t take itself too seriously for, by wanting to over-sacralise, we risk stopping the evolution of the work of an artist. Bringing a fresh eye to the work allows it to be reproduced in the context of a live show.
This solo has become a loyal companion to which I’m much attached, and so I imagine still being able to dance it until I’m 80!

Dominique BOIVIN

This solo was modified in 1999 in a new version, counting more than 300 representations to date.
It has been presented in France and abroad (Portugal, Japan, USA, Italy, Greece, Central African Republic, Democratic Republic of the Congo, Cameroon, Gabon, Switzerland, Indonesia, Australia, India, New Zealand, Russia, Spain, Morocco, The Netherlands, Brazil, Taiwan, and Vietnam).
For non-French speaking countries, an adaptation has been created including the presence of a linguistic interpreter on stage.

Beau Geste – Ile de France Opéra et Ballet – Théâtre de Vénissieux with the support of the Théâtre Contemporain de la Danse (Contemporary Dance Theatre) and of the Cinémathèque de la Danse (Dance Cinematheque).

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