The Mobilis_Immobilis company, association law 1901, settled to Les Clayes sous Bois (near Versailles) in France, was created in 1998 by Maflohé Passedouet, artist and actress. Contemporary multidisciplinary company, it takes place between the numeric arts, between the live performance, the plastic arts and between the broadcasting. Its creations question the relations between the body (valid or handicaped, acting in the everyday life and on stage) and the most recent digital technologies.
Mobilis Immobilis acquired its identity in the environment of the numeric Arts and the dance, by its use of multimedia tools developed in the heart of its shows, in the service of the choreography and of the dramatic art and its creative dynamism ceaselessly renewed. The company investigates, for it, various modes of expressions, choreographic writings, arts kinetics, visual arts.
It works with artists of diverse disciplines to establish an effective collaboration in the elaboration of artistic multidisciplinary projects. Dancers, musicians, artists, researchers collaborate there to open the field of the creation to new artistic experiments and to develop an aesthetics of the relations between the Body and the Technology, the Image, the scenic Space.
The will of the Company is to address all the public by proposing shows and artistic works resorting to modes of expression which are contemporary to us, in daily tools but which upset our lives and our report to the world generating at the same time, delight, fascination, fears and refusal. Mobilis-Immobilis belongs to this world, to its public, to the contemporary art.
In this spirit, its creations transpose a phantasmagorical universe where the movements of bodies act on the sound material, on the livened up events, on the environment, virtual or real … Objects, artistic or not, are there autonomous. They can go as far as rebelling … We note a strong inspiration of the universe of the tales there.The word leaves place with sounds, with bodies in movement, those of the dancers, circassians, actors. It gives all their strength to scenographies, close in their shape of the art of the madmen, the children, the primitive, the scenographies which celebrate the childhood, the onirism to face in the chaos of the world. It establishes the space scenic as physical work as much as pictorial, as digital and interactive frame in which the dancers unwind the choreographies of its plays. So its mark is to generate in real time the processings of the scenic visual and sound paintings, interactive space sprinkled with sensors of movements and with gesture, So they become real partners of dance.