In a society where addiction to speed is the new dogma and where noise forces its incessant harassment upon individuals, preventing them from listening to themselves and others, Anatomie du Silence brings its attention to bear on the subtle, the minute, and the intimate – to a slowing down and listening. It invites us to a contemplative sensory experience, to a deep internalization.

In the heart of a choreographic, visual and sound installation, Maxence Rey and his collaborators Cyril Leclerc, a visual artist and light designer, and Bertrand Larrieu, a sound designer, dissect the silences of the dancing body in their physicality, their light, their texture and sound.
Maxence Rey gives her body the status of a raw and malleable living material, linking it to a geological temporality. A body traversed by a thousand stories, in which something visceral and archaic lurks and shows itself.
Spectators are invited to an intimate and collective slowing down, a delicate experience of time and space.

Over the course of my choreographic creations, I have pursued the exploration of the imperceptible, of a fluttering, by bringing forth singular states of the body in which the figure comes up against disfiguration, formlessness, flesh, the human and inhuman : all of it in contact with the sovereignty of fantasy.
Dance is organic, movement minimalist, presence powerful, impulses act from within. All of it with a strangeness and a suggestion – something out of whack, imaginative and surrealist, tinted with humor.
For each of the pieces, bodies with singular presences, are shown as they are without artifice or embellishments.
The border is always tenuous between beauty and fright, excess and restraint, guiding the audience’s gaze to imaginary countries probing the human and its metamorphoses.

My connection to the visual arts is significant. The questions I bring to the stage are often spurred by pictorial and visual observations.
The piece Anatomie du Silence marks a new phase in my relationship to the visual arts – more than just inspiration for the senses, it now constitutes real theatrical and dramaturgical stakes.

Maxence Rey