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Initially, there is the will to gather a team around The Rite of Spring, a work that staged a sacrifice.
Crossing through time, the sacrifice, "made sacred", is changing, it is displaced, it is transformed. It can take many forms.
Whether it involves us totally or partially, whether actual or symbolic, ritualized or simply played, it responds essentially to our need to believe, even if it is an illusion.
There is a pleasure to be fooled.
For the act to make sense, just believe in it. And all belief requires an object on which to project ourselves.
The simulacrum finds its place here.
It does not take us away from the force and scope of the act, but gives us a path, a possible incarnation. The simulacrum does not hide the truth, it is a fake but which is ultimately a truth.
Led by four musicians, we wanted to place the dancers in a device that dematerializes their bodies and gives them the possibility of becoming a matter, a shadow that operates.
Decoy is a place of revelation that echoes the incessant call of sacrifice and its cyclical need to be satisfied.

Magali Milian, Romuald Luydlin, Vincent Capes