I grew up in a family of four kids in a boisterous and jovial atmosphere. I left my parents’ house when I was 14 and moved to student housing. Since then, I have moved many times, but I have always lived in close proximity to other people. I suspect this has influenced my predilection to work in a group.
I like to describe myself as an interpreter. Rather than initiating a project, I enjoy following someone else’s ideas. I get excited when I feel I am fully involved in a collaboration, when I can contribute to the project with myself as a whole: body, mind, skills and life experience. I like having to face the problematics within the specific frame of each project, and I enjoy the process of searching for solutions to these problematics, even when they cannot be found.
I am aware that the body carries and projects its own (gender, age and cultural) identity, but I would not say that this identity plays a role in my professional practice. I consider it a privilege to have the opportunity to overcome a specific identity in order to serve an artistic work, and I like to take the chance given by an artistic concept to become another form of being.
I see dance as an open artistic expression that gives space to the imagination and interpretation of the audience. Every person has a body (hence, ‘everybody’), and this banal quality makes us universally responsive to dance. The human body in motion is multifaceted and can create endless meanings, while remaining the same body. I believe that dance has the power to touch people, to move them, to transport them to a new place, just through the means of bodily expression. The theater is a place where different people come together to share an experience, but the way they understand it, or sense it, will be unique for each person. As an artist, I wish to raise different questions but not necessarily give answers.
Caroline Eckly was born in Paris. She received her degree from Conservatoire National Superieur de Musique et de Danse de Lyon, and started her professional career as a ballet dancer with Ballet du Capitole de Toulouse under the direction of Nanette Glushak. She later worked with Ballet Actuel and Cie Blanca Li, where she gained an appreciation for working in a small group with a clear artistic concept. From 2002-2008 she danced with the National Theatre in Nuremberg, Germany. Caroline is an active member of the performance company Spreafico Eckly, which she co-founded in 2011. In addition to producer, she is performer, choreographer or lighting designer according to the needs of each project Spreafico Eckly initiates. Caroline joined Carte Blanche in 2008.