By investigating the figure of the nymph, a minor mythological character, a zone of so-called feminine sexual anatomy and a metaphor for affect, Taos Bertrand proposes a certain translation of the trans-feminine experience.
It is said of the nymph Echo, mythological double of Narcissus, that “she is the sound that lives in her”, and that in the face of disavowal, the only things that remain are her voice and her bones echoing in the caves. Faced with this observation of oblivion, the choreographer wishes to rehabilitate the mythological figure and give it back body. She proposes a choreographic study of the cut where the body becomes an echo chamber for sound images, and the hands become graphic and symbolic tools for reshaping a body, a face, a self-image. What recollection is possible through the powers and tactics of sound and invisibility, ambient and audible, in the face of the control exercised by visibility?
In this new choreographic solo, based on echo, cut and grace, we experiment with nature as a resistance to labor, in the words of the American philosopher Mc Kenzie Wark: “Femininity is a resistance in labor”. Through the story of a birth, the nymph appears as syrupy as honey, tender enough to employ grace as a remedy for resentment.
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Nymph (2025) is een solo van 45 minuten waarin Taous Bertrand de figuur van de nimf onderzoekt als mythologisch personage, als verwijzing naar vrouwelijke anatomie en als metafoor voor affect. Vanuit echo, breuk en gratie vertaalt ze de transfeminiene ervaring naar een choreografie waarin lichaam, geluid en onzichtbaarheid elkaar ontmoeten. De nimf wordt een lichaam dat zich opnieuw uitvindt: vloeibaar, kwetsbaar en weerbarstig.