After C’est pas grave and Ça ira, Maxime and Francesco continue their exploration of French expressions, seemingly light and meaningless phrases, yet full of imagery and evocative power.

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Advienne que pourra (2026) concludes the trilogy C’est pas grave, a project of three independent performances reflecting on gravity, both as a physical force acting on the body and as a symbolic condition of the spirit. Each creation is linked to a geometric shape and a bodily dynamic, following a logic of layered images and meanings: a journey from the abstract to the concrete, from sign to matter, from idea to moving body.

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C’est pas grave (2020, duet) – circle – rotation and orbiting;

Ça ira (2022, trio) – triangle – walking and running;

Advienne que pourra (2026, quartet) – rectangle – jumping and falling.

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At each stage, a new performer joins: bodies accumulate, weight intensifies, and gravity becomes increasingly tangible in a choreographic language rooted in humor and nonconformity, blending suspensions, runs, leaps, silences, and sudden stillnesses.

 

“Advienne que pourra”, evoking the acceptance of the irreversible, becomes stage material. The performance unfolds as a dialogue between four performers and a gigantic mattress, a decontextualized object transformed into a landscape, a space within space, a promised land from

which to launch oneself. The leap into the void, an irreversible act governed by gravity, becomes a

metaphor for life’s fluctuations and for spaces of care and welcome.

A space of experimentation where falling, bouncing, and instability become living material.

Playful and nonconformist, the research explores free fall, weight, risk, and physical energy,

creating a dynamic network of interconnections between performers, the mattress, space, and music,

in a continuous and sensitive dialogue between time and matter