Les Guerriers De La Beauté

The filmic composition creates a fictive space that conveys the multiple perspectives generated by Fabre’s imaginings. The film is an adaptation and transformation – a passage from one form to another – of the choreographer¹s imaginative capacities. Yet the framing, lighting, sound and editing through which the cinema renders Fabre’s mental world all lend autonomy to the film. For the film is not an imitation or copy of an original – not a straightforward recording that produces a likeness – but rather a simulacrum: it grasps crucial disparities in the choreographer’s world, which it reveals again and again. The film is a reprise of Fabre¹s world ; it thereby re-invents it, updating virtual worlds that overlap or collide, giving body to an entire, intangible substance. This transversal shift – a shift that is fictional by nature – turns the film into a doppelganger of the initial world which, metamorphosed, disappears. The film shapes one potential outcome of the choreographer’s world.