If Olivier Dubois prefers to define himself as an author rather than a choreographer, it is because he does not consider himself a researcher in movements. However, the intensity of the gesture and power of engagement on stage are striking elements in his creations. As an interpreter, he has already shown his astonishing endurance and daring in plays by Angelin Preljocaj and Jan Fabre. With the humour that characterizes him, he admits that he is not afraid “of pain or ridicule”. Olivier is fearless and has the resources equal to his ambitions. Since the creation of For All the Gold in the World in 2006, he has been inventing forms with extremely meticulous scores whose almost mechanical precision makes it possible to reach a state of abandonment, on the stage as well as in the theatre. Coming to dance late, he enthusiastically integrates the history of this art, which he readily calls on when it seems that it can serve his projects: Nijnsky's Afternoon of a Faun in Faun(s), premiered at the Festival d'Avignon in 2008, Swan Lake in For All the Gold in the World or Ravel's Bolero in Revolution. He considers bodies and heritage the tools of shaking up and questions what he thinks makes up man's humanity: the capacity to rise up, shout, resist. Insurrection and resistance are at the heart of his project Critical Study for a Trompe-l'oeil, a cycle in which his two preceding plays Revolution and Red, as well as his new creation, Tragedy, are included.
RB, April, 2012