{"id":8962,"date":"2025-07-18T19:15:36","date_gmt":"2025-07-18T17:15:36","guid":{"rendered":"https:\/\/umoove.art\/?p=8962"},"modified":"2025-07-18T19:27:55","modified_gmt":"2025-07-18T17:27:55","slug":"turn-on-soraya-leila-emery","status":"publish","type":"post","link":"https:\/\/umoove.art\/index.php\/2025\/07\/18\/turn-on-soraya-leila-emery\/","title":{"rendered":"TURN ON  &#8211; Soraya Le\u00efla Emery"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"8962\" class=\"elementor elementor-8962\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-e2a4f3c elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"e2a4f3c\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-85a97c6\" data-id=\"85a97c6\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-1973efc elementor-widget elementor-widget-image\" data-id=\"1973efc\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"614\" src=\"https:\/\/umoove.art\/wp-content\/uploads\/2025\/07\/D.A.N.S.E.R-5-768x614.jpg\" class=\"attachment-medium_large size-medium_large wp-image-8964\" alt=\"\" srcset=\"https:\/\/umoove.art\/wp-content\/uploads\/2025\/07\/D.A.N.S.E.R-5-768x614.jpg 768w, https:\/\/umoove.art\/wp-content\/uploads\/2025\/07\/D.A.N.S.E.R-5-300x240.jpg 300w, https:\/\/umoove.art\/wp-content\/uploads\/2025\/07\/D.A.N.S.E.R-5-1024x819.jpg 1024w, https:\/\/umoove.art\/wp-content\/uploads\/2025\/07\/D.A.N.S.E.R-5-1536x1229.jpg 1536w, https:\/\/umoove.art\/wp-content\/uploads\/2025\/07\/D.A.N.S.E.R-5.jpg 2000w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-98af088 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"98af088\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-9fefe74\" data-id=\"9fefe74\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-006c326 elementor-widget elementor-widget-heading\" data-id=\"006c326\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-heading-title{padding:0;margin:0;line-height:1}.elementor-widget-heading .elementor-heading-title[class*=elementor-size-]>a{color:inherit;font-size:inherit;line-height:inherit}.elementor-widget-heading .elementor-heading-title.elementor-size-small{font-size:15px}.elementor-widget-heading .elementor-heading-title.elementor-size-medium{font-size:19px}.elementor-widget-heading .elementor-heading-title.elementor-size-large{font-size:29px}.elementor-widget-heading .elementor-heading-title.elementor-size-xl{font-size:39px}.elementor-widget-heading .elementor-heading-title.elementor-size-xxl{font-size:59px}<\/style><h2 class=\"elementor-heading-title elementor-size-default\">Tentative sensible de reconfiguration du regard et du plaisir<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-8164822 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"8164822\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-b6315a6\" data-id=\"b6315a6\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-0b8b473 elementor-widget elementor-widget-text-editor\" data-id=\"0b8b473\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<h3>Pr\u00e9sent\u00e9e aux Hivernales dans le cadre de la S\u00e9lection Suisse au Festival Off d\u2019Avignon 2025, <em>TURN ON<\/em> de la chor\u00e9graphe suisso-marocaine Soraya Leila Emery fait exploser les fronti\u00e8res entre sc\u00e8ne et salle pour questionner le plaisir f\u00e9minin \u00e0 travers une exp\u00e9rience participative et sensuelle. En invitant le public \u00e0 entrer dans l\u2019espace du jeu, la pi\u00e8ce renverse les codes de la repr\u00e9sentation et propose une r\u00e9appropriation joyeuse et politique du regard sur les corps.<\/h3>\n<p>Sur le plateau, un monticule de coussins rose layette, aussi incongru qu\u2019accueillant, dresse un totem mou du f\u00e9minin. Ce n\u2019est ni d\u00e9cor, ni installation : plut\u00f4t une topographie affective, un territoire mall\u00e9able o\u00f9 va se jouer une rencontre. Et c\u2019est bien de cela qu\u2019il s\u2019agit dans <em>TURN ON<\/em>, cr\u00e9ation de la chor\u00e9graphe suisso-marocaine <strong>Soraya Leila Emery<\/strong>&nbsp;: cr\u00e9er les conditions d\u2019un autre regard, d\u2019un autre rapport aux corps \u2013 notamment ceux des femmes, racis\u00e9s, en mouvement.<\/p>\n<p>D\u00e8s les premi\u00e8res secondes, le dispositif performatif est pos\u00e9. Les trois interpr\u00e8tes \u2013 Soraya Leila Emery, <b>L\u00e9na Sophia Bagutti Khennouf <\/b>et <b>Donya Speaks<\/b> \u2013 circulent dans la salle. Elles s\u2019adressent au public individuellement, avec douceur, bienveillance, mais aussi pr\u00e9cision : <em>\u00ab Puis-je te toucher ? \u00bb<\/em>, <em>\u00ab Tu veux bien me donner la main ? \u00bb<\/em>, <em>\u00ab Accepterais-tu que je m\u2019allonge \u00e0 c\u00f4t\u00e9 de toi ? \u00bb<\/em> Le consentement devient ici un protocole chor\u00e9graphique, un pr\u00e9-geste charg\u00e9 de sens. Il pr\u00e9pare la sc\u00e8ne comme un espace partag\u00e9, un espace relationnel o\u00f9 la danse ne s\u2019impose pas, mais se n\u00e9gocie. Un peu plus tard, on y partagera des bonbons. Exp\u00e9rience aussi gustative que sensuelle dans la bouche sucr\u00e9e de l&rsquo;interpr\u00e8te&#8230;<\/p>\n<p>Dans cette premi\u00e8re phase, la pi\u00e8ce touche une zone rare de la danse contemporaine : celle du partage actif, du trouble doux, du corps comme medium de lien. Le spectateur est convi\u00e9, mais jamais pris \u00e0 partie. L\u2019interaction est subtile, jamais forc\u00e9e. On entre dans l\u2019\u0153uvre comme dans une chambre feutr\u00e9e, mais \u00e9veill\u00e9e : attentive aux affects, aux r\u00e9cits inscrits dans les corps, aux tensions diffuses entre d\u00e9sir, regard, contr\u00f4le et abandon.<\/p>\n<p>Lorsque la danse \u00e9merge, elle vient en continuit\u00e9. Une danse dense, engag\u00e9e, sensuelle et sportive, nourrie d\u2019ondulations, de glissements au sol, de poses lascives d\u00e9jouant les st\u00e9r\u00e9otypes. Loin d\u2019une esth\u00e9tique de la provocation, <em>TURN ON<\/em> joue sur l\u2019ambivalence : celle de l\u2019exposition, du regard, du pouvoir. Les corps se montrent, mais ils se d\u00e9robent \u00e0 la consommation. L\u2019image de l\u2019odalisque, convoqu\u00e9e puis retourn\u00e9e, devient le symbole d\u2019une r\u00e9appropriation : <em>\u00ab Les odalisques se r\u00e9veillent. \u00bb<\/em><\/p>\n<p>Mais c\u2019est pr\u00e9cis\u00e9ment l\u00e0 que la pi\u00e8ce conna\u00eet un infl\u00e9chissement. Ce qui s\u2019\u00e9tait amorc\u00e9 comme une \u00e9criture fine de la relation glisse peu \u00e0 peu vers une accumulation de gestes dont la force physique tend \u00e0 masquer la faiblesse de la composition dramaturgique. La danse devient d\u00e9monstrative, presque survolt\u00e9e. \u00c0 trop vouloir faire vibrer le plaisir, elle finit par l\u2019\u00e9puiser. Ce que l\u2019on gagne en intensit\u00e9, on le perd en lisibilit\u00e9. Comme si l\u2019\u00e9nergie brute venait prendre la place de l\u2019\u00e9laboration formelle. Dans un tout autre univers, c&rsquo;est pr\u00e9cis\u00e9ment ce qui a flingu\u00e9 l&rsquo;\u00e9puisant et vide de sens <i>DIVE <\/i>d&rsquo;<b>Edouard Hue<\/b>, jou\u00e9 \u00e0 La Scala dans ce m\u00eame OFF.<\/p>\n<p>Pourtant, on ne saurait r\u00e9duire <em>TURN ON<\/em> \u00e0 cette d\u00e9rive. Car au-del\u00e0 de ses fragilit\u00e9s \u2013 parfois structurelles \u2013 la pi\u00e8ce affirme une n\u00e9cessit\u00e9 politique et po\u00e9tique. Elle inscrit dans le champ de la danse contemporaine des corps et des r\u00e9cits encore trop souvent marginalis\u00e9s. Elle propose une \u00e9coute, une attention, une inscription du f\u00e9minin dans une cartographie mouvante du sensible. Elle interroge, sans jamais l\u2019ass\u00e9ner, la question du plaisir comme enjeu esth\u00e9tique, \u00e9thique et politique.<\/p>\n<p>Il y a dans ce travail une g\u00e9n\u00e9rosit\u00e9 ind\u00e9niable, une volont\u00e9 de r\u00e9parer par le geste, de mettre le corps au service d\u2019un dialogue intime et public \u00e0 la fois. Et s\u2019il reste \u00e0 affiner la dramaturgie, \u00e0 \u00e9purer peut-\u00eatre l\u2019\u00e9criture du mouvement, <em>TURN ON<\/em> reste une tentative pr\u00e9cieuse : celle de faire de la sc\u00e8ne un lieu d\u2019\u00e9mancipation douce, de reconqu\u00eate, de d\u00e9sir qui pense.<\/p>\n<p><strong>C\u00e9dric Chaory<\/strong><\/p>\n<p><strong>\u00a9 Gregory Batardon<\/strong><\/p>\n<p><strong>Vu le 16 juillet aux Hivernales CDCN Avignon \u2013 Festival OFF.<\/strong><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Tentative sensible de reconfiguration du regard et du plaisir Pr\u00e9sent\u00e9e aux Hivernales dans le cadre de la S\u00e9lection Suisse au Festival Off d\u2019Avignon 2025, TURN ON de la chor\u00e9graphe suisso-marocaine Soraya Leila Emery fait exploser les fronti\u00e8res entre sc\u00e8ne et salle pour questionner le plaisir f\u00e9minin \u00e0 travers une exp\u00e9rience participative et sensuelle. En invitant &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"https:\/\/umoove.art\/index.php\/2025\/07\/18\/turn-on-soraya-leila-emery\/\"> <span class=\"screen-reader-text\">TURN ON  &#8211; Soraya Le\u00efla Emery<\/span> Lire la suite\u00a0\u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","footnotes":""},"categories":[8],"tags":[239,230,240],"class_list":["post-8962","post","type-post","status-publish","format-standard","hentry","category-critique-critique","tag-festival-avignon-off","tag-les-hivernales-cdcn","tag-soraya-leila-emery"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.8 - aioseo.com -->\n\t<meta name=\"description\" content=\"Tentative sensible de reconfiguration du regard et du plaisir Pr\u00e9sent\u00e9e aux Hivernales dans le cadre de la S\u00e9lection Suisse au Festival Off d\u2019Avignon 2025, TURN ON de la chor\u00e9graphe suisso-marocaine Soraya Leila Emery fait exploser les fronti\u00e8res entre sc\u00e8ne et salle pour questionner le plaisir f\u00e9minin \u00e0 travers une exp\u00e9rience participative et sensuelle. 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