Presse

DANCE WEST (Australia)
February - March 2005
“Didier Théron is an artist whose intriguing philosophy offers food for though and infinite avenues for exmploration”

23/02/2004 about “En forme” and “Sitting standing walking (…)”
“But like the bizarre, boldly acrobatic antics with furniture that make En Forme like a silent cartoon, the rhythms and repetitions build into visual images that resonate with the themes and stylistic flourishes of the source material. Best of all, the performances were a joy to watch whether you knew the literary sources or not.”

15/02/2004 about “En forme” and “Sitting standing walking (…)”
“French choreographer Didier Theron, is known for big, poetic, technically impressive choreography. Milican agrees his work has matured, but insists it is neither flabby nor middle-aged. “Now he’s working with very minimal staging, a few chairs and a back wall, and going into difficult texts. People can get absorbed in the beauty of it even if they don’t grasp the intellectual capacity”.

(Japon) – 29/05/2002 about “The new tenants”
“The first part of the work is truly magnificent as an apocalyptic menace hovers over the scene. […] However, calm and simplicity remain the essence of the work of excellent level. At the heart of movement, a tension has lodged itself, bordering on brute violence.”

09/2001 about “Sitting standing walking with foreword and afterword”
“Interrupted and repeated movements are interspersed with everyday gestures to express theatrical dramaturgy. This technique is magnificent. Two men sitting on a chair make a sign with their hand, hit on a table, tilt their head. The reiteration of gestures exaggeratedly amplify the movement and produce a surrealistic, unusual impression… These quick movements translate the absurdity. The presentation is based on the qualities of a creator who has a very rich choreographic vocabulary as well as solid theatrical knowledge.”

LIDOVE NOVINY (Czech Republic)
04/11/1998 about “Selfportrait Raskolnikov”
“Didier Théron from France turned in solo performance “Raskolnikov” and the dance quartette “Les Locataires” the continuity, cross-indexing to pantomime of Decroux and biomechanics. Very accurate technique of choreography with phases of movement seized up brough inside the sadness of existential dispossession lightly covered with an aberrant grotesque.”

13/12/1993 about “Ironworks”
“More like a cubistic or surrealistic painting, the choreography and the dance managed to convey the essence of factory life very well to an urban audience in a simple and easily understood manner.”

21/4/1997 about “Selfportrait Raskolnikov”
“The solo Selfportrait Raskolnikov by French choreographer Didier Théron investigates the writings of Dostoïevski. With lamost acrobatic use of the body, he has produced an abyssal chamber theater-miniature on the texture of madness.”

15/12/1993 about “Ironworks”
“Didier surprises with his inventive use of space, animating it with inventive and forceful movements. Together the six bodies thrusting, colliding, falling, leaping continuously, their movements quickening and slowing down in mechanical succession put on a masterly display of controlled strength. The movements grew more complex and dynamic, their repetitive nature in no way spoiling the presentation of the atmosphere of passion and despair.”

30/03/1993 about “On tenterhooks”
“Theron has an astonishingly wide vocabulary, and his choreography, particularly in this section, is wholly original. He presents a marvellous fusion of tension and fluidity and his dancers mask their power with a seemingly effortless grace.”

30/03/1993 about “On tenterhooks”
“Didier Théron and his company – three women, two other men – involve us in this world of tensions and foreboding through dance that is forcefully poetic in its execution. Simply watching the unlaboured but rigorously exact flow of movement was fulfilling in itself.”

14/07/1992 about “On tenterhooks”
“I watch a showing by Montpellier choreographer Didier Théron. A men’s trio from his work-in-progress, “Sur des charbons ardents”, is wonderful. I’d like to see more of his work.”

24/05/1992 about “Ironworks”
“The dancing became complex and much more urgent, characterised by superb control and an undercurrent of passion, choreographed with subtlety, daring and great inventiveness. Despite the wistful voice whispering “C’est toujours la même chose”, it’s not always the same. It was a rare treat.”

18/04/1988 about “The partisans”
“In many ways I was more impressed by what Didier Théron achieved with fewer resources. For Les Partisans he has just himself and two young women as dancers : no scenery, simple costumes. But, with theses modish means, he sustained a suggestion of people in hazardous circumstances, constantly on the alert for unknown danger.”