Fun TimesBlast!Delicate PeoplefantasiaInner TubesThe Goldfish and the Inner TubeCalico Mingling, Katema, Reclining Rondo, Particular ReelScarlett’s ScaredPastime, Carnation, Museum PieceScarlett’s FallCosas Rosas

Fun Times


Creation 2024

Choreography in collaboration with the dancers: Ruth Childs
Dance/performance: Bryan Campbell, Ruth Childs, Karine Dahouindji, Cosima Grand, Ha Kyoon Larcher
Research & sound design: Stéphane Vecchione
Light design: Joana Oliveira
Assistant: Flow Marie
Costumes: Tara Mabiala
Scenography: Mélissa Rouvinet
Outside eye: Madeleine Fournier
Vocal Coach: Bertille Puissat
Production: Scarlett’s
Technical Director: Joana Oliveira
Production déléguée, administration, diffusion: Tutu production – Lise Leclerc et Cécilia Lubrano
Coproductions: Pavillon-ADC Genève, Arsenic-Centre d’art scénique contemporain Lausanne, Atelier de Paris/CDCN, CCN2 Grenoble, centre chorégraphique national de Caen en Normandie dans le cadre du dispositif Accueil-studio/ministère de la Culture, DR by Van Cleef & Arpels
Residencies: Montpellier Danse dans le cadre de l’accueil en résidence à l’Agora, cité internationale de la danse, avec le soutien de la Fondation BNP Paribas.

Ruth Childs is the associated artist at the CCN DE GRENOBLE, as part of the system supported by the French Ministry of Culture and Communication (2023-2024).

Scarlett’s/Ruth Childs benefits from a joint support contract from the City of Geneva/Canton of Geneva/Pro Helvetia (2024-2026).

Fun Times stages dif­fer­ent vari­ations on the Eng­lish notion of fun: the naive act of hav­ing fun or being fun togeth­er, the less con­ven­tion­al act of mock­ing. Ruth Childs will explore how these shared exper­i­ences can be trans­lated, both cho­reo­graph­ic­ally and vocally. Move­ments and tra­ject­or­ies move away from the geo­met­ric rig­or of her pre­vi­ous pieces to work on dances that explode in a play­ful rela­tion­ship with space. As for the voices, they are used for their son­ic and music­al qual­it­ies: no words, but an express­ive­ness linked to laughter, cry­ing and ono­ma­to­poeia. Inspired by the work of Amer­ic­an com­poser Meredith Monk, and acompanied by the musician Stéphane Vec­chione, she explores the ways in which the voice can become one with the cho­reo­graphy or be dis­so­ci­ated from it, unfold­ing in indi­vidu­al or shared scores. In this way, Ruth Childs explores the music­al­ity of laughter and tears, their tone and rhythm, in a tra­gi­com­ic vein befit­ting our times, when we no longer know wheth­er to laugh or cry. A ten­sion remin­is­cent of Mod­ern Times, where Chap­lin was able to sim­ul­tan­eously cap­ture the ser­i­ous­ness and the ridicu­lous­ness of mod­ern life.

Past Shows