A classical pas de deux born of rhythm and sound nuances, each movement is sculpted by listening to the music. The rhythm, silences, and melodic lines inspired the choreography, revealing in its purest form the living presence of musical language.

Oxygen reminds us that life is very short. We should make every breath count, because each one is unique and could well be our last.

Delirium explores the strange beauty of madness. Sometimes intrusive thoughts cross our minds like shooting stars, and we lose ourselves in the labyrinth of our own consciousness, caught between what is real and what is not. Are we the masters of our own thoughts, or are they the ones controlling us?

“Men are mistaken in thinking themselves free; and this belief consists solely in their being aware of their actions while remaining ignorant of the causes by which they are determined. Their idea of freedom is therefore simply that they know no cause for their actions.” Spinoza, Ethics, Book II.

Let us challenge the constraints of the influences that govern us.

Seeing Maud Pruvost move with such agility on one leg brought to mind Andersen’s bittersweet tale about a tin soldier drawn to a dancer balancing on one foot. Believing they share the same fate, they eventually find themselves reunited, after many twists and turns, in the flames of a fireplace where only a charred sequin and a small lead heart remain.

I wanted, with this pas de deux poised between the impulse of the heart and reason, to continue my choreographic cycle around “extraordinary” bodies by questioning our relationship to stereotypes and difference, so that — despite the fire of the onslaught — a spark of humanity may endure.

One watches, the other inspires. The gesture is born from admiration, slips toward imitation, then toward envy. By copying again and again, movements blur, identities waver. Ultra explores that fragile boundary between the desire to be oneself and the urge to become the other.