Though the first works by Loïc Touzé are from the mid-nineties, the pieces Morceau in 2000 and Love in 2003 mark the beginning of his work as an author, engaging a strong axis of composition, editing and writing. From there, each new piece unfolds a motif emerging from the precedent piece, following the principal of a plant cutting, the different pieces stemming from and nourishing each other.
Rather than developing a style which would result from a formal line of gesture, the expanse opened by the different pieces is crossed by underlying lines concerning narrative, the centrality of the dancer, a form of address combining a certain distance with direct expressivity, as well as faith in danced gestures building on the conviction that a dance is an act of effective transformation.
Whereas works like Love and 9 explore a form of writing that alternates fixed and variable parameters, La chance draws its gestures from somewhere outside of choreography, and the pieces Fanfare and Forme Simple, in which the idea is to make a choreography into a dance, keep to a composition with precisely defined contours.
In parallel, these compositional ideas are formulated alternatively and experimented through other formats : pieces for children (Voici Ulysse sur son bateau), films (Dedans ce monde), performed conferences (Je suis lent), or other events in public spaces such as Autour de la table created with Anne Kerzerho.