Interview with Caroline Breton, Choreographer of Euphoria
Francis Kurkdjian Endowment Fund:
Caroline Breton, you are a choreographer and multidisciplinary artist. Through your piece Euphoria, you explore the notion of wonder an essential sense, as fundamental as hearing or smell inspired by the reflections of biologist Rachel Carson. Can you tell us more?
Caroline Breton:
“The creation of Euphoria was born from the convergence of several influences. I have long been working on the concept of a ‘vital language’: What moves us? What drives us to connect with others? What is truly alive within us?
Then, I discovered The Sense of Wonder by Rachel Carson, a 1950s biologist and one of the first to use the term ‘biocide’ before it became ‘pesticide.’
She shared that, although she didn’t have children of her own, she took care of her young nephew. When he visited her in Maine, by the ocean, she loved introducing him to the mysteries of the living world: the ebb and flow of the waves, an unpolluted starry sky, a tiny crab on the sand… Simple yet powerful experiences that connect us to the elements.
She explained that children naturally possess this capacity for wonder and that, as adults, our role is to preserve it for as long as possible. That is also what I aim to offer with Euphoria: a 55-minute space-time to reconnect with this sensitivity.”
The piece presents a choreographic conversation between two figures, both human and animal. Can you tell us about this staging and the message you wish to convey to the audience?
C.B. :
“Euphoria is a synesthetic experience where visual, light, sound, music, and choreography are in constant dialogue. Charles Chemin has designed lighting atmospheres that have as much impact as a word or a movement.
The piece is based on the idea of conversation, in the sense that John Cage envisioned it: an exchange where one does not know in advance what the other will say. It is not just about validating an idea but allowing it to evolve through the presence and contribution of another.
On stage, we are two performers—Olivier Muller and myself—but also four entities, thanks to choreographic objects: two life-sized owls and two small 25 cm owls mounted on remote-controlled cars. This mise en abyme evokes the inner child, the adult, and a more universal, symbolic presence, detached from human identity traits.”
How does wonder, as a sense, manifest in the choreography and staging of the piece?
C.B. :
“I structured the piece into eight tableaux, each with its own distinct sound and visual identity while maintaining an organic continuity between them. We explore different forms of language:
A bird code, a musical transcription of bird songs, creating a soundscape that is both accessible and abstract.
An acrobalance sequence, where we play with lifts inspired by popular imagery—partner yoga, Instagram poses—to bring a sense of innocence and lightness.
Light effects that alter the perception of space and bodies, creating a sensory immersion.
The idea is to weave together varied references to compose a coherent universe that still surprises the audience and transports them elsewhere.”
What were the main challenges in creating and staging Euphoria?
C.B. :
“The first challenge was production. It took me two years to secure funding, establish partnerships, find co-producers, and schedule performance dates. This administrative and human effort is crucial for bringing a project to life.
Then came managing the creative residencies: coordinating the schedule, balancing research time with logistical constraints, and bringing the team together at the right moments.
Artistically, the challenge is to be both confident in one’s intuitions and open to the unexpected. A strong structure, a solid backbone is necessary, but at the same time, flexibility and adaptability are key throughout the creative process.”
How has the collaboration with co-producers KLAP Maison, L’Étoile du Nord, Les Hivernales, and the Watermill Center enriched the project?
C.B. :
“Without them, the project wouldn’t exist. These collaborations are not just financial; they provide opportunities for dialogue, refining the project, and adapting it for different audiences.
For example, at the Watermill Center, I will create an in situ version in April and host open studios in New York. At L’Étoile du Nord, we organized workshops with high school students. These engagements nourish Euphoria and expand its reach.”
What impact do you hope the piece will have on the audience?
C.B. :
“Above all, I hope Euphoria brings joy. After the first performances, audiences left with sincere smiles, feeling connected to a deep sense of happiness.
It is not entertainment in the conventional sense but an invitation to be surprised by the simplicity and poetry of things. Charles Chemin has designed ‘light baths’ that envelop the audience, immersing them in an atmosphere conducive to wonder.
We also incorporate humor, contrast, and self-irony. Contemporary dance can be serious and profound while remaining accessible and lighthearted.”
After its premiere at L’Étoile du Nord, what are your aspirations for Euphoria?
C.B. :
“My goal is to tour the piece at least 50 times. On March 22, we will record a performance at Klap Maison with François Fégalou. We have also worked on a teaser with Cléa Schaeffer.
The next step is to have all the necessary communication tools to reach venues and programmers, ensuring Euphoria continues beyond its Parisian debut.”