KNIGHT-NIGHT by Bry­ana Fritz and Thibault Lac revis­its the fig­ure of Don Quix­ote to work on the oscil­la­tion between real­ity and rep­res­ent­a­tion, abstrac­tion and nar­ra­tion. Dance and poetry unite to cel­eb­rate the fra­gil­ity of an instant. 

Liv­ing in a time and space between dream and real­ity, Don Quix­ote is both “a ghost in life and real in death”, accord­ing to Jacques Ibert, who com­posed the songs for Georg Wil­helm Pabst’s Don Quix­ote in 1933. The com­pos­ite and poin­til­list­ic nature of KNIGHT-NIGHT echoes this limin­al­ity; dan­cers Bry­ana Fritz and Thibault Lac’s cre­ation asso­ci­ates text, sound, music and move­ment to cel­eb­rate the fra­gil­ity of an instant. All motifs, props and sets appear in glimpses, encour­aging the audi­ence to sharpen their gaze and con­nect the vari­ous ele­ments togeth­er. In this barely-formed stage, music is a tan­gible pres­ence, com­bin­ing pop music and syn­thet­ic sounds. Through intim­ate or cine­ma­to­graph­ic sequences, the duo com­poses a mosa­ic where dances become sculp­tures, where the sound­scape becomes a song, and the naked body a knight in arms, as prerecor­ded voices lose their amp­li­fic­a­tion and breath becomes text. The fig­ure of the wan­der­ing knight fleshes out between mov­ing bod­ies, as the entry point to reflect on desire and hope.