Rêche is a piece for the stage, but it can also take place in a monument. It invites a group of 7 people to work out relationships of proximity: starting from a compact mass of bodies, the choreography evolves towards a slow blistering, creating distance between the members of the group and yet inviting them all to remain in contact.

The idea is to create a mass of bodies, yet I've observed that up to 5 people on a set my eye as a spectator very quickly spots their number, and that beyond that number, I'm more likely to perceive a group of people as an entity. On the other hand, the decision to use an odd number stems from the desire to reinforce the creation of asymmetrical spaces between the bodies, and to derive from this asymmetry a little relational disruption.

More intimately, for me "seven" is also the Hebrew letter zayin ז, meaning weapon, and the Egyptian hieroglyphic drawing from which it derives is an arrow piercing an animal skin. Inwardly, for me, it reconciles death and life in a single concept, corresponding in respiratory experience to the moment of apnea, which makes stopping the germ of a new becoming.