Mossoux-Bonté ?

Mossoux-Bonté?  Ah, the disturbing strangeness of it all . . .
We know them by name, by reputation, but they remain impossible to pin down.  Perhaps because they are relentless jack-of-all-trades, navigating between puppets and installation with excursions into train stations, only to then find themselves back to the intimacy of the theater, alternating between solos and large group pieces, miniscule stages and vast performance venues.

We recognize a style. There is a signature to be found between the lines of their two superimposed handwritings. We can never be quite sure what their next creation will bring about.  They remain unpredictable, in a neverending renewal of form, means and language. That's where their performances invite you on a journey, touching the most diverse and heterogeneous audiences.  By touching the individual, playing with cultures, searching in the smallest of hollows, in the intimate, in the secret of being, therefore bypassing all trends.  Since 25 years already:  their obsessions die hard.

Rosita Boisseau, Panorama de la danse contemporaine / 2008 (Editions Textuel)