Sakinan Göze Çöp Batar

A man is sitting on a wooden container. A blue cap and a rucksack give him the look of a traveller. At the end of the path, he takes his shoes off and dances. Sakinan Göze Çöp Batar is a poem on exile, on the solitude of the surveyor. His interpreter, Kerem Gelebek, comes from Turkey. He came to France to train at the CNCD of Angers and now lives in Berlin. He has taken part in four shows by Christian Rizzo who, today, is creating a solo for him, in which their itineraries and their respective experiences of being far from home cross and echo each other: a solo in which the choreography says that he is “projecting himself by proxy”. Of course, Kerem Gelebek wears Christian Rizzo's shirt, handles some of his pet objects – a table, a plant, a few books – and appropriates his choreographic vocabulary. But he also develops a personal language, crossed with traditional dance, undulations and dizzying whirls. From caresses to cracks, he inserts himself into the melancholic world of the choreographer as much as he enriches it, diverts it and sometimes subverts it. On stage, Kerem Gelebek moves like a mountain climber. With precision, suppleness and calm, until he lets go, secured by the choreographer who holds the rope and in this way permits him to express himself. In Turkish Sakinan Göze Çöp Batar literally means: “An over-protected eye always gets sand in it”. Or, in other words: it is by protecting yourself that you most risk hurting yourself. A title in the form of an invitation to daring, trust, for a solo in which the other is never far. RB