The roots of this performance is to play the sympathetic resonance of the room structure, individually sculpted according to its architectural singularity, and which the plot of the show remains permeable to the immediate moment, using exclusively acoustic methods of production and governed by motions which implicate the full motor capabilities of the body.

My first challenge to produce a continuous sound wiht a percusif musical instrument, evolved through an investigative process of the acoustic gifts of the performance space.
A large drum is used as a vibrational amplifier, with varied implements rubbed on the skin to activate its vibrational potential. These implements are positioned beforehand around the drum for access in my circular walk. I developped this personal technique more ten years now, firts time in 2008/2009 for the adaptation of Macbeth by the French theater compagny La Sallie.

Today my knowledge of materials and shapes allow me to produce sound vibrations that are often compared to some sound of synthesizers. However, the physical perceptions of the acoustic sounds, have nothing similar to those issued by a speaker. The immersion phenomenon in the sound material is no longer dependent on the level quality of sound system, but by the resonance of the body and the surrounding structures.

From larger through to smaller scales, all turns around an axis.
Mine, during the performance it's the horizontal drum.
The focus of my rotations is consciously refer to ancetrals rituals used
by numerous culture and civilization and called circumambulatoin sinistrocentrique.