Since the beginning of 2005, Rosalind Crisp has been developing d a n s e, an ongoing project of movement research. No one will tell us… is in one sense a continuation of the research work d a n s e, and at the same time, represents a new territory of exploration, an opening up to a new questioning : How does the practice of d a n s e encounter other approaches? How does it deal with other practices? How to bring it into perspective? How might the tools of this practice serve a much broader project? What kind of dialogue might it have with other languages, be they dramatic, musical or plastic?

At the root of this questioning is a desire by Rosalind Crisp to encounter and collaborate with two performer-artists equally engaged in their own particular artistic inquiries, the performer Andrew Morrish, also artistic advisor for her company, and the musician-composer Hansueli Tischhauser, musician in the previous work of the company, d a n s e (4).

Rosalind’s work is about the body. The body is the subject. The compositional causality of her movement is unpredictable. There is no assumption about what will follow what. Through practice, the dancer is held awake by the imperative of taking or noticing each successive decision as it is made. Her dance is political by its insistence on the body as agent, as intelligence. It celebrates becoming, and deals in intimate relationships between dancer and audience. Material is created in the present, through the multiple relationships of listening to the body, to its practiced choreographic imprints, and to the shared space with a public. It is through, in and by dancing that the discourse occurs.

Hansueli Tischhauser believes in the rock and roll ethos of giving the audience a good time. He has a vast range of musical abilities in rock, rockabilly, blues, jazz… and a wealth of performative permissions. His concerts blast full-on, are gently human, sublime and deeply ironic… lay out on endless looseness, then reign in again with delicious precision. He is a master of responding to the moment.

Andrew brings an artistic world in which the discourse occurs through images, ideas, narrative, sound, word, movement… in relationship to his audience. His way of performing engages a full-blown wakefulness, an intense responsiveness and responsibility to the present situation, and a celebration of becoming in interaction with this audience now.

The three artists are concerned with the inherent relationality of live performance, working in response to their respective practices, to each other, and to this audience now. Relationality recognises that live performance is not about controlling the event but about a fluid, dynamic and alive interactivity of a multiplicity of elements.

No one will tell us… was rehearsed in different places offering residencies to the company : l’Atelier de Paris-Carolyn Carlson, Théâtre du Chaudron, Biennale nationale de danse du Val de Marne, Centre national de la danse, Ménagerie de Verre (Paris), 3 CL-Choreographic Centre (Luxemburg) and Tanzhaus Zurich

choreography and dance Rosalind Crisp

live performance Andrew Morrish

live music Hansueli Tischhauser

artistic advisor Alban Richard

lights and technical direction Marco Wehrspann

duration 1 hour

premiere on 25 May 2010 in the Transfrontalier festival, Luxemburg

premiere in France on 10 June 2010 in the JUNE EVENTS festival, at the Atelier de Paris–Carolyn Carlson, Cartoucherie, Paris

production Association Omeo Dance – Rosalind Crisp Company

coproduction Atelier de Paris – Carolyn Carlson, CDC/Biennale de danse du Val-de-Marne in the framework of a studio residency, CDC Paris-Réseau (Atelier de Paris-Carolyn Carlson, L’étoile du nord, micadanses-ADDP, studio Le regard du Cygne-AMD XXe),

with the support of the ministère de la Culture et de la Communication/Drac Ile-de-France (projects), the City of Paris, CulturesFrance, TROIS C-L (Luxembourg),

and the Ménagerie de Verre (Paris) in Studiolab program, Centre national de la danse (Pantin) for studios and Tanzhaus Zurich.

Rosalind Crisp, associate artist of the Atelier de Paris, benefits from a residency at the Théâtre du Chaudron with the support of the Conseil Régional d’Ile-de-France in the framework of “la permanence artistique et culturelle”, and with the support of the CDC Paris Réseau and the Drac Ile-de-France in the framework of a co-residency between the City of Norville and the Atelier de Paris-Carolyn Carlson.