With Ulysses, my intention has always been to pay homage to choreography and stage the architecture of space lightheartedly.
Rather than theorize about dance, I wanted to play with certain situations in modern and classical ballet by filling them with more personal details and movements. For example, I used – and sometimes debunked – symmetry, perspective, entrances and exits, ensemble steps, sequences between the group and soloists, duets, split lifts, counts, quartets, multiple centers, marches, arabesques, and so on. The physical and sensual sides of the dancers shine through quite naturally, while tiny « cracks » announce or recall other more tormented choreographies.
Once the composition was complete, I had to give it a title. I decided to call it Ulysses, because of the complexity of the choreography which hindered me as a dancer from penetrating it easily. Like Homer’s hero, I experienced my own exile and the impossibility of reaching my own choreographic shores.
The oceanic music of Henry Torgue and Serge Houppin, and the dreamy white of the costumes also influenced me in my choice.
The title also brought to light the many correspondences that arise between Homer, Joyce and the choreography.
I invite you to share these correspondences, to awaken the « soursik » in you and together rekindle our forgotten dreams.
Jean-Claude Gallotta