From the very beginning of his first creations “The Partisans” a choreography emerges within Théron which transforms the idea of resistance into movement on stage. Like an affirmation, a necessity, an inevitable exploration of artistic forms and stage design: It is translated by a choreography which is physically and mentally committed, with a rigorous inscription of the body in space, by graphic movements, their geometry, the physical trajectory of the body, their energy and its control. "I draw so I speak", dance is therefore a total language which makes sense.
The reciprocal attraction to Japan which marks Théron’s career corresponds to his preference for signs rather than for narration or argument. Théron reinforces the economy of means, which gives his works their chiseled and concise forms, where precision in working with the body as physical material serves a form of graphic visualization. Because Théron plays with matter and its intensity, by accumulation and rupture, in a composition of signs in motion. This may be where Théron’s attraction to the approach of the Japanese master Tadashi Suzuki comes from.
This dance, a concentration of intense movements, creates clear images which impress our eye and mind. During several years, this research brings him closer to literature (Dostoevsky, Beckett, Kafka, Melville, Flaubert) and today, to visual arts.
With dance, Théron finds his form of resistance:
he draws, and presents to the world a political creation.