These are from Petra Sabisch’s .(2011). Choreographing Relations: Practical Philosophy and Contemporary Choreography in the Works of Antonia Baehr, Gilles Deleuze, Juan Dominguez, Félix Guattari, Xavier Le Roy and Eszter Salamon.
The central issue of Le Roy’s experiment [Product of Circumstances] concerns the body as a pack of practices. The body is, on the one hand, formed, rehearsed and codified through social and cultural structures and provides, on the other hand, the means for a change in the habitual practices precisely because of its own vivacity, formative dynamics and specific resistances.
The tension appears on the level of expressivity: Le Roy demonstrates the smooth and tender movements of arms and their rhythmic and tangible movement quality in a way that they do no look expressive of his body but rather superimposed and disarticulated from his body’s integrality. To display a caress as technical execution of a movement quality is, different from expressing it; Le Roy shows with this examples the gap between a movement quality and its socially and culturally codified significance as a sign of an expressive self.
It makes the spectators travel through a whole spectrum of relations that disrupt the possibility of their anticipation and break off with movement expectations, thereby questioning the habits of doing and watching. Le Roy then explicitly questions whether a production of a dance piece can become process and production itself without getting sealed into a performance product.
After this excerpt of the beginning of Self-unfinished, which was premièred only one year before Product of Circumstances, Le Roy reaches the present in his chronology of body circumstances. He concludes this lecture with the above-quoted final stance about contamination, invites the audience to ask questions, and leaves the desk with the microphone and his script, going immediately to the audience where he answers any questions which surface. This part, which is ordinarily set up as a post-show talk with the artist, forms an integral part of Product of Circumstances, a performance whose circumstances consequently vary with each different audience.