An actress who never danced - a dancer who never acted. This unlikely mix probably explains why the encounter between the French comedian Juliette Binoche and the British choreographer Akram Khan got so much press coverage over the past few months. The result, In–I, is an original 75 minute composition on the borders of dance and theatre which stages the pleasures and torments of the amorous impulses.

Minimalist set. A young lady falls in love with a boy. Sensual pleasure of the nascent amorous feeling. Delights of passion. Weariness and triteness of daily married life… The Whirl of Love is here the object of a scenic introspection which combines the words and the movements.

Unexpected context? Or rather… some will think - “weird”? This creation is carried by the impetus of two interpretative virtuosos, who, to the great dismay of the critic, take the difficult challenge of reaching beyond their fields of expertise. Akram Khan, a prodigal choreographer and Juliette Binoche, a revered actress. “And now he acts!” or even worse, “and now she dances!”, “Will they live up to expectation?” Despite the obstacles, the comedian and the dancer threw their heart and soul into the project. They co-signed off on the texts, the choreography and the interpretation. After several months’ work, in September 2008 they opened in London. What had started as a simple idea during a friendly conversation, “Would you like to dance? – Why not?” has materialized.

From its opening in the National Theatre, the ‘choreographic play’ has raised much media interest, with journalists and critics wondering about the technical validity of the artistic collaboration. “When artists imagine they can do anything…” The opinions are often harsh, castrating… Hence a desire to react differently as the two artists will be in Abu Dhabi in January.

Isn’t it natural as an artist to seek to explore further internal echoes through other means of expression? And then, what can we really expect from a Juliette Binoche who starts dancing and an Akram Khan who starts acting? The two smooth interpretations by ‘the newly born dancer and actor’ are totally exempt from the interference of the first mode of expression by each artist? Or on the contrary, the opportunity for a new, different outlook on both dance and theatre, which would be the result of the inherent tensions and urges linked to the combination of the two artistic languages?

Let’s not be so strict! Let us be conquered by this world of new possibilities constantly offered by creativity. Let’s enjoy the sincere and spontaneous statement of two leading artists in constant movement, who with lots of audacity dare leave their comfort zone to expose themselves to new risky creations. And foremost, let’s recognize the ultimate right of art to experiment and evolve.

Beatrice Grossi (Jan-Feb09 Issue)

For more details log on www.akramkhancompany.net