Once, the Gods of the stadium said:
«Here, young ladies, here is our time-out. Use it right.»
The teenage girls stretched out their hands and accepted the gift.
But were they even aware of the burden they had inherited: the killing of time (through «entertainment») which may also mean the time of their own killing? 

What if the masterpiece by Stravinsky had something to do with a cheerleader? What if a parallel existed between a human offering of the Rite of Spring and the tragic fate of a female supporter?

 

Confronting high culture and popular culture, «noble» and «ig-noble», Maud Blandel stages five dancers in a ballet with exacerbated physicality, where bodies confront themselves to the power of music and light. In the limelight, opposite the Gods of the stadium and her delirious fans, the cheerleader performs a series of acts. But what ideology is she the icon of? Twisting up to a desecrating point the patterns of her codified performance, Touch Down redraws contemporary folklore, where anxiety emerges in front of the sacrifice of the female body.