Compagnie Outre Mesure

Transcription

Compagnie Outre Mesure | Ensemble Donaïres | Renaidanse
European Ballet Concordances Première in july 2014
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Europeen Dance Piece
Concordances
From the Palazzo Schifanoia to the Galery of Mirrors,
passing by the Giralda of Séville
In the Beginning
In 2010, Robin Joly, artistic director and choreographer of the Compagnie Outre Mesure, takes
advantage of the welcome offered by the Royal Castle of Blois in order to hold the 6th Europeen
Academy of the Compagnie Outre Mesure and to enlarge the teaching of choreography.
Thus, on the one hand, he solicits Ana Yepes, artistic director and choreographer of the
Donaïres Ensemble to complete the teaching of Cécilia Gracio-Moura of French baroque dances, but
above all, the repertory of Spanish dances of the 17th century, and, on the other hand, Véronique
Daniels, artistic director and choreographer of the company RenaiDanse to teach the repertory of Italian
dances of the 15th and 16th centuries.
At the end of this encounter, they decide to first confront the results of their research and
readings of the sources on the practice of the old school, in the form of work sessions, then to work
together on the concordances and differences of the repertories.
In 2012, after two years of intense exchanges, they finally decide, while continuing the
background discussions, to create a show entitled Concordances. Each of the choreographers of the three
companies writes alone or collegially from their respective experiences while leaving room for
improvisation by the dancers and the musicians on the “standards” of that time.
Argument
Let us imagine a dance company of today, accompanied by five timeless troubadours, visiting
the dance halls and royal courts of 16th and 17th century Europe. The choreographies of the most
illustrious Ballet Masters will, for a passing moment, animate our dancers. At ease in their century, they
dance choreographies, and play their repertory of dance music while retaining their own fantasies. Thus
they visit, each in its turn, Domenico da Piacenza near the Palazzo Schifanoia (literally, Palace
« Disdains Boredom ») of Ferrare, les proteges of Margueritte of Bourgogne’s Court, the festivities of
Poitiers and Langres frequented by Thoinot Arbeau, the first court ballets accompanied par Cesare
Negri (violinist of King of France Henry III). They understand that the dance steps used in Sevilla and
taught by Jaque and Juan de Esquivel in the Iberian peninsula have something to do with those
described by Fabritio Caroso or by a French choreographer officiating at Darmstadt in Germany at the
beginning of the XVII century or still others admitted into the famous “Gallery of Mirrors” of the
Versailles Castle.
Thus, this voyage opens the perspective on the evident and rich musical, choreographic and
poetic Concordances. Musicians and dancers converse and thrive in the veritable, interdisciplinary
Concordances at the heart of these movimenti, ruades, floretas, as well as other improvisations…
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Distribution
Direction of the D on ai r es En sem b le : Ana Yepes
Direction of the Compagnie Outre Mesure : Robin Joly
Direction of RenaiDanse : Véronique Daniels
Concept & Choreographies : Véronique Daniels, Robin Joly & Ana Yepes
Musical arrangements : Pascale Boquet
Scenic direction : Ana Yepes
Lighting creation & Stage manager : Luc Quaglia
Costume design: Louise-Alice Véret
Costume implementation : Nadia Boissard & Louise-Alice Véret
Artists
Musicians of the Compagnie Outre Mesure
Pascale Boquet • lute & “guiterne”
Anne Dumont • sakbut & harpsichord
Robin Joly • oboes & recorders
Gwinnevire Quenel • singer & recorder
Michèle Vandenbroucque • oboes, bassoons & recorder
Dancers of the three companies :
Jean-Marie Belmont
Nadia Boissard
Olivier Collin
Véronique Daniels • choreographies of XV and XVI century Italian dances
Gloria Giordano
Robin Joly • choreographies of French Renaissance dances
Sarasa Matsumoto
Anna Romaní
Ana Yepes • choreographies of XVII and XVIII century French and Spanish dances
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First journey
1. Quattrocento Dances

♫ Corona Gentile, Sergei Yemelyanenkov, 2014
Φ Bassadanza, Giovanni Ambrosio, manuscript from the end of the XVth century

♫ A Florence, la joyeuse cité/Hélas la fille Guillemin, anonymous from the XVth
century
Φ La figlia Guglielmina & L’altra figlia Guglielmina : Balletti from Domenico da Piacenza,
before 1455

♫ La Portaingaloise, tenor from the Bruxells manuscript called « manuscript des basses
danses de Margueritte d’Autriche/de Bourgogne », around 1595 & counterpoint by Pascale
Boquet, 2014
2. Courante

♫ Sur le bord de la Seine, Christophe Ballard, 1704
Φ Allemande courante from the French Renaissance

♫ Wink to the Brando di Cales, Cesare Negri, 1602
Φ Corrente from the Brando di Cales

♫ Papillons volent, music from the tradition of the « Marais Breton »
Φ Courante from the « Marais Breton »/ Maraîchine in circle

♫ La Bocanne, anonymous
Φ Courante from the French baroque
3. Spagnoletta

♫ La Spagnoletta/Lo Spagnoletto, improvisation on pieces given by Fabricio Caroso,
1581 & ♫ Gli amanti morescano, Andriano Banchieri, 1608
Φ Balletto from the XVIth century

♫ Españoleta, improvisation on pieces by Gaspar Sanz, 1640-1710
Φ Spanish dance from the XVIth and XVIIth century
4. Passemaizes

♫ Pass’emezzo d’Italye, Pierre Phalèse, 1583
Φ Pavana, Saltarello

♫ Gaillardes, improvisation on a passemaize
Φ Gallarda from the Spanish baroque & Gaillarde from the French baroque

♫ Passomezo d’Italye, Pierre Phalèse, 1571
Φ Pavane, Allemande & Gaillarde from the French Renaissance
5. ♫ Qui voudra faire amie, song collected by Jehan Chardavoine, 1571 & arranged by Pascale
Boquet, 2009
Φ Gaillarde from the French Renaissance
6. ♫ Les Passepiedz de Bretaigne, Michael Praetorius, 1612
Φ European composition on French 6 beats dances (Renaissance, baroque and traditional).
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7. Jácara & Sarabande

♫ Jácara, Gaspar Sanz, 1640-1710
Φ Jácara

♫ Premier air des espagnols, “Ballet des nations” from the Bourgeois Gentilhomme,
Jean-Baptiste Lully, 1670
Φ Sarabande from the French baroque

♫ No hay que decirle al primor, anonymous from the XVIIth century
Φ Jácara
Second journey
1. ♫ Nine Branles de la Guerre, Nicolas du Chemin / Jean d’Estrée, 1559 & Pascale Boquet
2009
Φ Branles in the form of a ballet and a mascarade
2. ♫ La Bourrée, Jacques Mangeant, 1605 & Pascale Boquet, 2014
Φ Traditional Bourrée from Centre France, Branle in the form of a ballet, British Contredance
and Bourrée from the French baroque
3. ♫ Alta, Francisco de la Torre, 1460-1505
4. ♫ L’Amour avec l’honneur…, Adrien Le Roy, 1573 & words collected by Jehan Chardavoine,
1576 & ♫ improvisation on the Pavane d’Espagne, theme and basse determined by this
« standard » of the Renaissance
Φ Pavana, Pavaniglia & Pavane d’Espagne
5. ♫ Improvisation on Canarios, theme and basse determined by this « standard » of the
Renaissance.
Φ Dance and choreographic improvisations on Italians, Spanish and Mexican styles.
6. ♫ Fantaisies ménétrières sur la Folia, theme and basse determined by this « standard » of the
Renaissance and the Baroque.
Φ Bassadanza, Bassedanse, Branle de Poitou double, Pavane, Gaillarde, Folías & Folies
d’Espagne
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Ensemble Donaïres
The Donaïres Ensemble is the heir of the Ana Yepes Company, the prolongation of its artistic endeavors
since January 2010. It borrows its name from one the leading shows of the company, and has chosen the town of Evreux
in which to settle and develop its activity, around work already begun by Ana Yepes at the CRD of Evreux where she
teaches historical dance.
Donaïres [don-eye-ress] is a Spanish word that means: “discretion and grace when speaking”, “hardy
handling of the body”, as well as “facetiousness and grace to attract the will of those listening”. Furthermore, the word
Aire is used in old Spanish to qualify pieces of music or dances. As to the expression “Al aire espagnol”, it means “in
the Spanish spirit”.
1999
Dialogues with my father, contemporary dance show for 4 dancers, a tribute to Narciso
Yepes on a soundtrack of his records. Choreography: Ana Yepes,
2000
Beatrix Cenci, contemporary opera by Ginastera at the Grand Théâtre of Geneva, staging:
Francisco Negrín, musical direction: Gisela Ben Dor, choreography: Ana Yepes.
2002
Fantaisia for three dancers and a table, contemporary dance show. Piece with nine scenes,
combining solos, duos and trios, on recordings including music by Pärt, Rautaavara, Britten,
MacMillan and Bach. Choreography: Ana Yepes,
2003
The King’s Dances brings together four dancers, seven musicians and a singer; a staging of court
and theater dances from the time of Louis XIV. Tour in Japan with the Purcell Quartet,
choreography: Ana Yepes, musical direction: Richard Boothby.
2004
Donaires, Spanish baroque dance show from the time of Cervantes for six dancers and six
musicians; choreography: Ana Yepes, musical direction: Ignacio Yepes. Created at the Printemps des
Arts of Nantes. Tour at the Automne Musical de Versailles, Opéra de Rennes, Théâtre de Caen, Opéra
of Bordeaux, Ambronay Festival, Festival Segni Barocchi Festival of Foligno (Italy) and International
Narciso Yepes Festival of Ordino (Andorra).
Fiesta, south-American baroque dances for six dancers in the context of Ambronay Festival;
choreography: Ana Yepes, with the musical ensemble Elyma directed by Gabriel Garrido.
2005
Sampiero Corso, contemporary opera by Tomasi at the Opera de Marseille; staging: Renée
Auphan, musical direction: Patrick Davin, choreography: Ana Yepes.
Tour of The King’s Dances in Croatia.
Narciso Yepes Trio, recital with Ana Yepes (dance), Ignacio Yepes (flute) and Paula
Chateauneuf (baroque guitar and lute) in Spain, at the ‘Corral de Comedias’ from Alcalá de Henares.
2006
Ercole Amante, opera by Cavalli at the Académie Baroque d’Ambronay, under the musical
direction of Gabriel Garrido, staging by Pierre Kuentz, choreography: Ana Yepes, sets and costumes:
David Messinger.
2007
Eclats Baroques, baroque dance comprising three short pieces in three different baroque styles :
Spanish, French and south-American, for six dancers and soundtrack. Choreography: Ana Yepes.
Tour of the Narciso Yepes Trio, with Ana Yepes (dance), Ignacio Yepes (flute) Gerardo Arriaga
(baroque guitar and lute) in Spain, France and Croatia.
2008
La Paz Universal, “Auto Sacramental” by Calderón de la Barca, at the Festival International de
Musique Religieuse de Cuenca and at the Festival International de Téâtre de Almagro ; staging: Juan
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Sanz, musical direction : Albert Recassens and choreography: Ana Yepes.
La Corte del Faraón, zarzuela by Lleó at the Palaú de las Arts de Valencia; musical direction:
Enrique Garcia Asensio, staging: Francisco Negrín, choreography: Ana Yepes, sets and costumes by
Louis Désiré.
2009
Alceste, opera by Gluck at the Santa Fe Opera (USA); musical direction: Kenneth Montgomery,
staging: Francisco Negrín, choreography: Ana Yepes, sets and costumes: Louis Désiré.
Performance of the Narciso Yepes Trio, at the Dansoir in Paris.
Performance of Donaires at the Stockholm Early Music Festival.
Bal Renaissance with the Ensemble de Musique et Danse Ancienne of the Evreux Conservatory.
2010
Una Cosa Rara opera by Marin and Soler; musical direction: Ottavio Dantone, staging: Francisco
Negrín, choreography: Ana Yepes, sets and costumes: Louis Désiré; at the Palau de las Arts of
Valencia. Reprised at the Teatro Calderón of Valladolid and at the Auditorium of Murcia.
2011
Bal Renaissance with the students and professors of the Conservatories of Val de Bièvre, and with
the Ensemble de Musique et Danse Ancienne of the Evreux Conservatory.
1 st Early Dance Summer Academy by Ana Yepes from July 7th to 16th at Roquetas de Mar,
Andalusia, Spain.
Performance of the Narciso Yepes Trio, at the 1st Mare Musicum - Baroque Music and Danse
Festival at Roquetas de Mar, Andalusia, Spain.
2012
Rinaldo, opera by Handel; staging: Francisco Negrín, choreography: Ana Yepes, sets and costumes:
Louis Désiré, at the Lyric Opera of Chicago.
The Cunning Little Vixen, opera by Janacek, staging by Francisco Negrín, choreography: Ana
Yepes, sets: Ez, costumes: Caroll Bailly, at the Royal Opera of Copenhagen.
Bal Renaissance with the students and professors of the Conservatories of Massy, of Saint-Ouen and
with the Ensemble de Musique et Danse Ancienne of the Evreux Conservatory.
2 nd Early Dance Summer Academy by Ana Yepes from July 7th to the 14th at Roquetas de Mar,
Andalusia, Spain.
Performance of the Narciso Yepes Trio, at the Festival International Narciso Yepes of Ordino,
Andorra, December 7th.
2013
Vaya de Fiestas, Spanish Early Dance and Music show, created at the Scène Nationale d’Evreux
Louviers, at the Cadran, on January 25th, 2013 ; choreography: Ana Yepes, musical direction Ignacio
Yepes, with the collaboration of the Ensemble de Musique et Danse Ancienne of the Evreux
Conservatory.
Performance of Dans les Rues de Naples, with the Ensemble Les Paladins, staging by: Olivier
Collin, musical direction: Jérôme Correas, choreography: Ana Yepes.
Renaissance Bals with the students and teachers of the Conservatoire de Massy, Conservatoire de
Saint-Ouen and with Ensemble de Musique et Danse Ancienne from the Conservatoire d’Evreux.
3 rd Summer Academy of Early Dance Danse Ancienne by Ana Yepes from July 6 to 14, at
Roquetas de Mar, Andalusia, Spain.
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Ana Yepes
Paris-based dancer and choreographer Ana Yepes was born in Spain. Following a degree at the
Madrid Conservatory, she studied musical analysis and harmony with Nadia Boulanger in Paris, and at
the Conservatory of Fontainebleau. She continued her studies in early music at the Royal Conservatory
of The Hague, and gained an “Early Dance Teacher” diploma at the Guildhall School of Music in
London, as well as a degree in dance at the Sorbonne (where she studied with Francine Lancelot).
Other teachers included Shirley Wynne, Barbara Sparti and Andrea Francalanci.
Her creations have included Eclats Baroques (Baroque Dazzlers) (2007), Fiesta (2005) – Southamerican baroque music and dance, Donaires (2004), a performance based on Spanish Baroque Dance
from the time of Cervantes, Les Danses du Roi (2003), based on French Baroque Dances from the
court of Louis XIV, Fantaisie pour trois danseurs et une table (2002), a contemporary dance piece,
Dialogues avec mon père (1999), a contemporary dance creation as an homage to Narciso Yepes, and
Zarandanzas, a ballet based on Spanish and French Baroque Dance with a contemporary component
that underlines the relationship between the centuries.
Aside from her work as a choreographer, she also participates in opera, ballet, comedies and
other works for the theatre, and she collaborates with various stage directors: Les Indes Galantes
(Rameau), Fous des Folies and Carmen (Bizet) with Alfredo Arias; King Arthur (Purcell), Beatrix Cenci
(Ginastera), Process Kafka (Poul Ruders), Rinaldo , Giulio Cesare and Orlando (Handel) with
Francisco Negrín; Hippolyte et Aricie (Rameau) with Jean-Marie Villegier; Sémiramide (Cesti) and
Comédies Madrigalesques with Mireille Laroche; Manon (Massenet) with Gilbert Deflo; Sampiero
Corso (Tomasi) with Renée Auphan El Gran Mercado del Mundo with Miguel Narros.
She has served as choreographer for several productions with William Christie and Les Arts Florissants:
King Arthur (Purcell), Le Bourgeois Gentilhomme (Molière & Lully), Les Plaisirs de Versailles and
Orphée aux Enfers (Charpentier), and Madrigaux (Monteverdi), as well as the stage direction and
choreography of Les Pèlerins de la Mecque (Gluck).
She also collaborates frequently with organisations such as the Royal Opera of Covent Garden,
l’Opéra National de Paris, l’Opéra de Montpellier, Le Théâtre de Caen, the Royal Opera of
Copenhagen, le Grand Théâtre de Genève, the New York City Opera, and la Compañía Nacional de
Teatro Clásico de Madrid, as welll as companies including Hémiole, the Trio Yepes , Ris et Danceries,
Les Arts Florissants, and Andanzas, a company which she created in Spain. She is a permanent member
of the Trio Narciso Yepes, which specializes in early music and dance from Spain.
She teaches Baroque and Renaissance Dance in France, Spain, England, Portugal, Switzerland,
Argentina, Chile and Japan.
Compagnie Outre Mesure
Musiques, Danses, Théâtres & Art Ménétrier Renaissance
Compagnie Outre Mesure were set up in 2000 and comprise professional performers, who promote the
Renaissance art of minstrelsy under the musical and choreographical direction of Robin Joly. Minstrels,
from the Latin ministerium ‘service’, practised what is now the art of playing music for dancing, or
indeed with dancing, and more generally the art of perceiving music in association with other arts
(fencing, drama, etc.) and movement.
Compagnie Outre Mesure are instrumentalists, singers, dancers, actors, researchers, instrument makers and
technicians from a wide variety of backgrounds and careers. Their ensemble of musicians perform in
various instrumental and vocal combinations from the consort to the great “band of hautboys”, from
solos to “broken consorts”.
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With over one hundred Renaissance balls in Europe to their credit, Compagnie Outre Mesure are
considered to be among the most innovative and popular practitioners of this speciality. Their specific
talent is their exploration of the relations between music and choreography. Their work on tempi,
dynamics, phrasing and matching music to dance is the foundation for their lively, original and
contemporary performance at concerts, shows, ballets and the like.
Far from merely reconstructing the Renaissance repertory, Compagnie Outre Mesure produce original
works in which their intuitions combine the various repertories (traditional, Baroque, contemporary)
with actual practice, making their approach unequalled in the world of early dance and music.
In their laboratory of the arts, Compagnie Outre Mesure direct their research and practice along four paths:
Original performances (commissioned by festivals, cities, auditoria, etc.)
Heritage performances (historical sites)
Educational work (conservatories, schools, voluntary associations, etc.)
COM label publications (discs, dance lists, etc.)
Compagnie Outre Mesure receive grants from the Vendée département council, the Pays de la Loire
regional council, and the regional directorate of the Ministry of Culture.
Robin Joly
As a performing musician and choreographer, Robin Joly brings a comprehensive approach to all his
work: studies, research, teaching and stagecraft.
Training: Robin studied at the conservatoires in Tours and La Roche-sur-Yon, gaining four
Diplômes d’Études Musicales and First Prize in the region. He has studied in succession under Jean-Pierre
Nicolas, Sophie Toussaint, Robin Troman, Denis Raisin-Dadre and Claire Michon for the recorder;
Michèle Vandenbroucque and Jérémie Papasergio for the Renaissance shawm and bassoon; Christine
Asso for the oboe; Marie-Anne Pottier and Pascale Boquet for chamber music, diminution and
improvisation; and Sophie Rousseau and Carles Mas for dance.
Research: Robin holds a two-year master’s degree (arts, literature, languages for research
purposes, Renaissance speciality: birth of modern Europe) from the François Rabelais university in
Tours. At the Centre d’Études Supérieures de la Renaissance in Tours, he is currently writing a doctoral thesis
under the supervision of Philippe Vendrix entitled “Towards a definition of ‘ground rules’ for
interpreting dances with the purpose of performing them on the basis of the musical and
choreographical descriptions in Orchésographie and an analysis of the four-part scores published in
Europe from 1530 to 1589 (date of the first impression of Orchésographie by Thoinot Arbeau [Jehan
Tabourot] from the press of Jean Desprez in Langres [Lengres])”. At the same time, he is a cofounding member of the intangible cultural heritage office OPCI, with Michel Colleux and others. This
non-profit service body is available to help all organisations seeking recognition for witnesses to
memory.
Teaching: Robin holds the state diploma in music teaching, subject: early instruments. Driven
by a desire to transmit and educate, he set up “minstrelsy” workshops at the regional conservatoire
(CRR) in Tours. He has been teaching French Renaissance recreational dance and the art of minstrelsy
since 2002. That year he was asked to take on the teaching of French Renaissance recreational dance at
the CRR in Nantes. He is also regularly appointed to examination panels and consults on teaching
projects (CEFEDEM Nantes, CRR Rennes, etc.).
Stage: Robin performs with groups of various sizes, such as in a duo with the organist Pierre
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Cambourian since 1999, and under the direction of Hervé Niquet and Hugo Reyne. He dances and
plays recorder, shawm and bassoon in festivals throughout Europe and in reputed theatres. With his
strong interest in traditional music and dance, he does all he can to popularise them in balls, meetings,
concerts, spectacles and recordings. As a musician, dancer and teacher of Renaissance minstrelsy
(relations between music and dance), he learnt the trade with the Compagnie Maître Guillaume (Sophie
Rousseau) from 1995 to 2002. Now he is regularly invited by various groups, notably the Ensemble
Doulce Mémoire (Denis Raisin-Dadre).
When a number of enthusiasts founded Compagnie Outre Mesure in 2000, they asked him to take
on its musical and choreographical directorship, and he now spends most of his time combining for
them his talents in Renaissance music, dance and minstrelsy.
RenaiDanse
Founded in 1997 by Véronique Daniels, the dance company RenaiDanse is an association
dedicated to the promotion, the practice, research into and teaching of dances from the 15th and 16th
centuries. Based in Switzerland, RenaiDanse have appeared in many countries performing dance shows,
involving the public in participatory balls, giving short workshops and masterclasses. Holland,
Switzerland, Poland, Belgium, Ireland, Great Britain, Spain, Austria, Germany, Finland, Iceland, Italy,
Slovenia…
The company's activities are diverse, ranging from historical dance performances to balls with
audience participation and educational workshops. Their repertoire is directly taken from original texts :
Domenico da Piacenza (before 1455), Guglielmo Ebreo da Pesaro (1463), books on basse danses from
the end of the 15th century, Thoinot Arbeau (1589), Fabritio Caroso (1581,1600), Cesare Negri (1602),
etc.
Véronique Daniels
Véronique Daniels graduated in Early Music from the Schola Cantorum Basiliensis. She studied
folk dances, English country dances and French renaissance dances with teachers of the Atelier de la
danse populaire de Paris.
Andrea Francalanci introduced her to the world of Italian dances of the Renaissance. During meetings
with Andrea and Barbara Sparti, Véronique pursued research which led her to address the problems of
tempo relationships in the Italian balli of the fifteenth century.
Through her musical training, her research, her knowledge of dance, her rigorous ethic and her daily
practice, Véronique Daniels is an expert in the worlds of both the dance and music of the Renaissance.
As founder of the company RenaiDanse, Véronique puts on her own creations in which music and text
mix together to accompany the movements of the dance. She is often asked to collaborate in projects
outside RenaiDanse which she enjoys doing.
Véronique leads workshops and teaches the dances of the Renaissance as well as historical music
notation at the Schola Cantorum Basiliensis.
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Véronique has published:
"Die Temporelationen im Ballo des Quattrocento" with Eugen Dombois, Basler Jahrbuch für
historische Musikpraxis, 1990.
"Tempo Relationships Within The Italian Balli of the XVth century," The Marriage of Music and
Dance. 1992.
She is the author of the articles "Domenico da Piacenza" and "Antonio Cornazzano" in the new MGG.
Véronique is currently completing the transcription of the "balletti" in lute tablature from the Treatise
of Cesare Negri (1602). She presented this work at the International Conference of Ghent in April 2000
and it will be published by Editions Fagisis.
Performances :
In mai 2014 : Choreography fort he theater event « 1476 » in Morat (Switzerland)
In october 2013 : Totentanz – von Leben, Liebe und Tod with the Ensemble Mandragora and an
Ensemble of the Schola Cantorum Basiliensis in Eisfeld (Germany)
In september 2012 : « Vox resonans » with Jankees Braaksma and the Ensemble Super Librum in
Groningen (Holland)
In june 2010 : "Madrigali guerrieri e amorosi" by Claudio Monteverdi with Sharon Weller and Johannes
Strobl in Muri (Suisse).
In 2009: collaboration and medieval experimentation with Carles Mas y Garcia and the Ensemble
"Tasto Solo" of Guillermo Pérez, "Notes pour moi ceste estampie."
A show presented at the opening of the Festival "Espazos Sonoros" in Santiago de Compostela (2009)
and as part of AMUZ in Antwerp (2010).
In 2008, Véronique presented in Muri her production of the cycle of dances by Domenico da Piacenza.
In 2004, with Ensemble Micrologus,"La Festa Fiorentina", a show created for the opening of the
Festival of Flanders in Antwerp.
In 2002, with Ensemble Micrologus, " Le jeu de Robin et Marion" produced at the l‘Abbaye de
Royaumont.

Compagnie Outre Mesure

Transcription

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