The second choreography by the duet composed of Boris Charmatz and Dimitri Chamblas, Les Disparates, premiered at the Dijon festival Nouvelles Scènes in 1994. Joyful and nostalgic, this work for a dancer and Toni Grand’s sculpture evokes fragmenting «states of dancing». Brought forth without transition are the performer’s conflicting desires and (tugging) physical intentions.

Dancing in Disparates
EQUALS
dance engaged and crafted by pathos
VERSUS
dance traced and distanced
VERSUS
dance rhythmed by the memory of celebration.
In 1999, through the eye of César Vayssié’s camera, Les Disparates became not a «video-dance», a dance film or a musical comedy, but rather a short film, empirical and intuitive.
"Cinema allows the integration of dance into reality, the use of its various forms of expression as the peculiar codes of an ordinary story.
Talking cinema has been around a long time. Les Disparates is a sound film, but without words pronounced. Without dialogue, cinema often retains traces of theatrical vocabulary. It resorts to grimaces to make itself heard. Beyond that, the force of the image, the power of the choice of frame, movement and the multiplied points of view produce meaning.
The choreography of Boris Charmatz and Dimitri Chamblas can be a contemporary equivalent of this way of investing the image. It has already escaped from the straitjacket of dance, it has thrown off the dancer’s mask, it integrates the full palette of cinematographic emotion - or rather simply emotion itself - from laughter to grimace, from the weight of feelings to the lightness of the body, of his own in any case. It is an abstraction of cinematographic narrative."
César Vayssié