Its 45 minutes of full on dance, in silence or on Madonna’s songs, consist of substituting dance styles with movement qualities produced out of a work on the bodily origins of movement. This choreographic contraband questions and destabilizes authorship within the choreographic field, and at the same time shamelessly indulges in kinesthetic wonders. The score is published in the shape of a book and can also be downloaded on the web. It is accompanied by a collection of texts by Bojana Cvejic, Petra Sabisch, Frédéric Gies, Simon Hecquet and Sabine Prokhoris. The pieces has been presented in numerous theaters and festivals, and has been already performed by more than 40 people.
“In front of his appealing dance about technique, style and composition, one could think that “conceptual dance”, suspected of intellectualism, came back to dance. Here is one who really thinks about dance, wearing rags and on Madonna’s songs, without losing one single word of it! Clever and nevertheless virtuoso or the contrary?” Pirkko Husemann, Korpus (20.12.2006)
(…) Frédéric Gies raises high the flag of a voluptuous dance. Serious as a pope, he shows in “Dance (Praticable)” a journey of quotations of movements, from Isadora Duncan, passing by Grete Wiesenthal and Madonna. Something rare is happening in his spending of energy: without “not dancing”, he neutralizes the furor of movement. He uses recognizable and spectacular “dance movements”, but it is still a composition. (…) Franz Anton Cramer, Frankfurter Rundschau (18.12.2006)