Obviously, musicians, dancers and their collaborative work are key elements in the construction of Triclinium. However, in choreographic creations, the music generally comes before the dance. Sometimes it serves as a pretext and then functions as an inspirational reference for the artist.
By contrast with this approach, Cadagiani wrote his choreography on the basis of a totally different reference, i.e. the mosaic of Admeto itself, with its rich geometric patterns and mythological theme. The choreography of Triclinium was completely written before any music. Only in a second stage began the work on the musical composition within the frame of an accurate chronological outline of the performance. Throughout the joint rehearsals, musical proposals were confronted and coordinated with the choreography.
The selection of the dancers themselves and their distribution in the performance is also a crucial element of the creation. As he often does, Cadagiani sought out dancers from a variety of backgrounds for Triclinium, including classic dance, contemporary dance, and hip-hop dance.
The dancers’ task is not to play these different dance styles off against each other. In the course of rehearsals, their task is to uncover what the choreographer names « the commonality of their dance ». At the end of this process, dance styles are hardly recognizable. Their possible stereotypes disappear in favor of a dance that renews motion and energy.
- Accordion : Sébastien Mazoyer
- Violin : Norbert De Jesus Pires
- Vibraphone, percussion : Tom Pablo Gareil
- Electronic musical instruments : Jean-Marc Ausias, also known as DJ Marks
- Aurélie Bea
- Clara Ferreira Combarieu
- Mouhajir Abdeslam, also known as Salem
- Matthias Escuderos
- Gaëtan Frenoy
From top to bottom and from left to right: Aurélie Bea, Clara Ferreira Combarieu, Matthias Escuderos, Gaëtan Frenoy, Mouhajir Abdeslam, also known as Salem, Jean-Marc Ausias, also known as DJ Marks, Norbert De Jesus Pires, Sébastien Mazoyer and Tom Pablo Gareil (photos DR).