May B sets in motion the parade of a drifting human condition with the invention of an abrupt theatrical language that transforms the ridiculous, the violent and the distressing in situations. The dance’s power comes from its capacity to represent the mystery of our presence in the world.
About the Performance
This piece based on the writings of Samuel Beckett, whose work contradicts in its theatrical movement and atmosphere the physical and aesthetic performance of a dancer, has enabled us to lay the grounds for a secret deciphering of our most intimate, hidden and ignored gestures. To succeed in unveiling the tiny or spectacular gestures of the many unnoticeable and inconspicuous lives in which waiting and «not quit still» stillness create a void, a huge nothingness, a silent space filled with the hesitations. When Beckett’s characters yearn for stillness, they cannot help moving; be it a little or a lot, they move. In this essentially theatrical work, the point, for us, was less to develop words and speech than blown up form of movement, thus seeking the meeting point between movement applied to theatre on the one hand, and dance and choreographic language on the other.
Maguy Marin

(…) She is blessed with a sense of fantasy and of the absurd – and in Samuel Beckett’s plays, she has found a perfect focus for meditating upon life’s absurdities. Like Beckett, she works with archetypal characters – his, in fact – and using universals, makes the human condition look very specific. The 10 dancers onstage are a composite of Beckett’s characters, – their faces plastered with gray chalk that flies out as they move. Clad in ill fitting night clothes, they trudge their alienated way in unison – remarkably precise in every movement – toward self-discovery. Sex is what they discover early on in a manic twitching sequence, but we also see them register an increasing range of emotions – hostility, fear and tenderness. (…) 

Anna Kisselgoff The New York Times – 1986