Born in Lille in 1964, choreographer Barbara Sarreau studied at the Conservatoire de Région de Paris before joining the Maguy Marin company in 1992. There she performed May Be, Corez, Watterzoï and Ram Dam. In 1995, she joined Angelin Preljocaj’s company where she danced in Parade, Noces, Le Spectre and Roméo et Juliette. She settled in Marseille and created her own company SB03 in 1998, where she premiered her first solo piece Pozen. She completed residencies at the Théâtre du Merlan (2003-2004), 3bisF in Aix-en-Provence and the Fondation Royaumont. She has since authored fifteen pieces and projects, both onstage and in various other spaces, for example her recent performance in the Marseille Flea Market.
Barbara Sarreau’s artistic process is part of a sociological and political impulse, a search for limits, for the frontier between body and language, as evidenced by her work with mentally troubled children or with inmates of the Luynes prison, and more recently with a literacy organization. In her own words, “Local and world contexts inspire my choreographic landscape; it delves into the search for a personal gesture, both intimate and public. Artistic improvisation, words and writing, dance and video montage: interdisciplinary collaborations are simply instruments allowing me to invent a choreographic shape adjusted to my feelings, moods and emotions--while staying alive to the 360% interior gestures that push each of us to act out in the world and to effect its 360% exterior side. I see contemporary dance as an experimental and creative ground in which the body must find opportunities to feel free, involved in and concerned by what is happening within it and in the surrounding world. I’m inspired by sensitive and turbulent bodily states, by current affairs and communications, by everyday poetics.
“My idea of performing arts is poised between the consumption of the world and its transformation. To give shape to an individual and collective impression in order to echo a state of civilization; to affirm the position of living beings in this period of commercialization of the human and animal body; such is the direction of the company’s research, a company built simultaneously on two kinds of production: classical choreographic creation and performance-investigation of rural and urban spaces.”
Translation: Ariadne Lih [ii-11]