Avoid what is predictable in the dance vocabulary as well as in the compositional structures: this aesthetic postulate by Gilles Jobin is confirmed by each of his creations by distinguishing itself from the previous and by encouraging the audience “to break their habits”. One could say that this in itself is the subject of Black Swan; at any given moment, his new piece astonishes, surprises, branches off into an unexpected direction. Taken from Karl Popper, the title of his newest creation evokes the improbable; in the sense that it takes the emergence of only one black swan (or the “impossible”) in the course of a series to modify our definition of a swan and, as a result, our rational approach to reality. It is enough to introduce a bit of “disturbing strangeness” or simply a discrepancy within a habit in order for our perception to change. This is what happens to a child who is discovering the world: everything surprises him, disorients him, increases or modifies his experience. In Black Swan, Gilles Jobin’s rallying cry will be just that, “to risk childhood”: its surprises, its games, something that the adult will rediscover later on beyond innocence. (Sylviane Dupuis)