Good Boy
| Actor | Marie-Hélène Rebois |
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In “Good Boy”, Alain Buffard dramatises the reconquering of his body – how he came back to life and verticality despite and above all with the disease. The imbalance is constant, but perfectly mastered.
By screening the recording of the piece onto fibreboard, the director highlights the way Buffard makes his body a raw material to work with. Even the slightest gesture matters.
To quote Matthieu Doze, who now performs the legendary solo, “Good Boy can fit into a suitcase”. This extremely powerful economy of means conveys the profound solitude of the individual but also that of a whole generation faced with the disease. In her film, Marie-Hélène Rebois gives centre stage to the different generations of dancers but also to Buffard’s friends, juxtaposing the personal importance for the choreographer to return to dance with the symbolic force of this solo for an entire generation affected by AIDS.
Alizée Mandereau
Tënk's Head of production
In “Good Boy”, Alain Buffard dramatises the reconquering of his body – how he came back to life and verticality despite and above all with the disease. The imbalance is constant, but perfectly mastered.
By screening the recording of the piece onto fibreboard, the director highlights the way Buffard makes his body a raw material to work with. Even the slightest gesture matters.
To quote Matthieu Doze, who now performs the legendary solo, “Good Boy can fit into a suitcase”. This extremely powerful economy of means conveys the profound solitude of the individual but also that of a whole generation faced with the disease. In her film, Marie-Hélène Rebois gives centre stage to the different generations of dancers but also to Buffard’s friends, juxtaposing the personal importance for the choreographer to return to dance with the symbolic force of this solo for an entire generation affected by AIDS.
Alizée Mandereau
Tënk's Head of production
