Marion Motin. “In dance, we have the right to be ugly, old, thin, loose skin, and that’s beautiful.”

Stromae, Rahim Redcar, Angele, Hollysiz… Choreographer Marion Motin created Les Autres collective in 2021, for which he imagined: Narcissus (1), a ballet about the surrounding egocentrism and the importance of appearance. It is an opportunity for the dancer to look back at this work, but also at her work, her age, her mother’s life and her future.

Madame Figaro. – How was born? Narcissus ?
Marion Motin: Things mostly come in images and while listening to Italian music I saw mirrors and sparkles… At first the show should have been called: Old is gold because I wanted to restore the image of advancing age, maturing skin… I finally expanded the spectrum and called it: Narcissus. This piece is about the objectification of stars and how we treat ourselves as objects. This piece was also born out of my exchanges with artists and dancers who were very concerned about social media, their image… I was able to see how the image ( often lie) occupy a very important place in our relationship.work. we rely too much on the form and sometimes we forget to work on the substance. Finally, when I walked down the street with my famous friends, I really watched the public relations with the stars; people are without a filter, they take photos without asking permission and talk to them as if they are friends or from the same family. And that every three minutes. Narcissus it’s also the voyeuristic side. we look at ourselves, we look at others, we watch how they look at us… There is an interesting and very relevant error in all of this.

What is this show like?
It’s dense, very intense and a bit goofy. The audience is on edge, they’re a bit tense and don’t know what’s going to happen. We’re 5 dancers on stage. I had not yet studied mirrors that change the perspective of the audience. I have a round mirrored floor mat, and 7 meter long mirrors at the back of the stage that kind of sink in with the audience.

Who do you see in the mirror?
I’m seeing more and more of the little girl and teenager I was. And I’m very happy about that because I think it’s my day job to stay grounded while still allowing myself to grow and explore , I’m caught between a deep desire not to leave my DNA and my soul, while absolutely wanting to evolve because I’m a researcher. In the mirror I see the child, the teenager, but also the mother and this grown woman that my shows are quite effective. I see a woman who is not too big in her head, who learns and learns to accept herself, to love herself despite a physical evolution that is not necessarily sublimated in our society. I see a woman who is quite consistent to all the characters in his life.

Is age a factor in dance?
Yes, it can be. I worked with the dancers of the Paris Opera last year, and they retired very young, at the age of 42. At the same time, I go around the worlds where you can dance very late, and I personally have the impression , that I am almost at the peak of my dancing at the age of 43. This is what I love about dancing, there are not so many age barriers. we are all connected by the same passion, calling, and it also allows us to imagine the situation. I dance on stage next to dancers who have firm skin, full cheeks, everything is in the right place. When I look at myself in the mirror on the floor, my skin is falling off, I look like Picasso, but I accept it, and I want to dance my whole life and the state I’m in. Age can sometimes be about dancing, but it’s also about freedom is a place where great artists dance late into the night with tired, old, but there, beautiful and feeling good bodies.When I see American choreographer Carolyn Carlson dance At the age of 81, it is so inspiring and hopeful. In dance, we have the right to be ugly, old, fat, skinny, saggy. And as long as we are good and in the right place, everything is beautiful.

What is your relationship with the body?
Besides being my work tool, and therefore my passion, my body is really my alter ego, my partner. It’s essential, and I try to really take care of it without being too obsessive. At the age of 43, I am now closer to the disease. I lost my father to cancer, my friends get sick and I’m more afraid of it, especially since I became a mother. So I realize these things and it seems natural to me to eat well, to be careful, to take care of myself, my body.. This also starts with loving, respecting, giving a real place, consider. her, don’t judge her, and give her every chance to be fit, healthy, and push her to the best that she can be.

Have you changed after becoming a mother?
A lot, because we realize that we are a reflection. We realize the importance of our gestures, our behavior, our words, what we do and what we are. I am a mirror for my 8-year-old son and I strive to be a beautiful person without being perfect. I want to pass on such human values ​​to my child are respect, consideration, forgiveness, while allowing him to be imperfect because we are human and make mistakes.

What does it mean to be a woman in 2025?
Chance! When I see everything that moves, everything that returns itself to its place. we are witnessing a rebalancing of our gender that will take some time, but this is the first time I really feel the ground shaking. when I look back, I tell myself that we came from afar, and at the same time it seems brilliant to me. I have the impression that we are really initiating a change that will rebalance and change the situation.

Is dance a macho world?
It depends on the environment… I grew up in hip-hop, which was very masculine, and I never suffered from machismo in the dance, because it’s the quality of what we do, whether you’re male or female. It’s less gendered, more It’s about work. There are many exceptional female choreographers, but also men. Then we remain in a patriarchal society, so there is inevitably collateral damage. But dance remains a place where both the masculine and the feminine are needed.

Where do you most enjoy your work today?
At the beginning of the creation and its process: When I’m in the lighting department, I’m directing, I feel terribly alive.

Are you dancing for the same reasons you started?
Yes, and that’s why I see the little girl that I was when I look in the mirror. Because today, when I dance, it’s out of pure pleasure, out of necessity, but also out of resonance with the music. And it’s also a necessity to be happy with things , with my feelings. It’s really a tool for well-being. And when I was young, I used to lock myself in my room, listen to music and dance, and tell myself stories, at the same time as releasing emotions and pleasure. I have been able to dance in the past to perform, to win battlefor people to love me… Today I found this liberating process.

What are your connections with the artists you work with?
We have a pretty strong bond because these are real human partnerships. I keep in touch with almost everyone I’ve worked with. Strome remains close, I love him dearly, he’s almost like family to me, I speak regularly to Christine and the Queens (Rahim Redcar today Editor’s note), and the plague… When working with artists, I touch the intimacy, I go deep into them, so these are not superficial relationships. In September, I collaborated with Omar Sy for a scene from the film French loverand i worked too Beautiful, beautifulThe film Diastème with Thomas VDB, Jeanne Rosa, Vincent Dedien… Every time is a pleasure and I have a great time. . Waiting for Boyangles. When I work with people who are willing to let go, it benefits them greatly, and it’s rewarding because they realize that dance is available.

Which artists would you like to collaborate with?
I would like to work with Raphael Quenard because his character appeals to me. His spontaneity, his authenticity speaks to me. It would be really nice to work with him. And I would love to work with Clint Eastwood or an actor of a certain age.

What do we wish for you in 2025?
A little quiet so you can recreate, and love.

(1) Narcissus By Marion Motin with the collective Les Autres.December 4th to 6th at La Villette in Paris.