PRE-PROGRAMME anglais.pub - Rencontres chorégraphiques

EDITION 2012 - MAY 4 TO JUNE 2
PROGRAM
Theaters
May 44 -5
MC93, Bobigny
May 99-10
La Dynamo de Banlieues Bleues, Pantin
May 1212-13
Maison du Théâtre et de la Danse, Épinay-sur-Seine
La Chaufferie, Saint-Denis
May 1515-16
Le Forum, Blanc-Mesnil
May 1919-20
Espace 1789, Saint-Ouen
May 22
Espace Michel-Simon, Noisy-le-Grand
May 2323-2424-25
Centre national de la danse, Pantin
May 2929-3030-31
Le Colombier, Bagnolet
June 11-2
Nouveau Théâtre, Montreuil
The association Centre international de Bagnolet pour les œuvres chorégraphiques Seine-Saint-Denis was founded at the
initiative of the Ville de Bagnolet and the Département de la Seine-Saint-Denis, with the support of the Direction régionale des
affaires culturelles d’Ile-de-France – Ministère de la Culture et de la Communication.
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THE CHOREOGRAPHERS
CREATIONS
CATHERINE DIVERRÈS
DD DORVILLIER
JULIE DOSSAVI
MATIJA FERLIN
CLARA FUREY /
BENOÎT LACHAMBRE
EMMANUELLE HUYNH
ELLI MEDEIROS /
MICKAËL PHELIPPEAU
ARTISTS INVITED
SIMONE AUGHTERLONY
AURELIE GANDIT (Duo)
PERRINE VALLI
PAUL-ANDRÉ FORTIER
AURELIE GANDIT (Solo)
AN KALER
FRANK MICHELETTI
JANET NOVÁS
LIAT WAYSBORT
MARJANA KRAJAĆ
TÂNIA CARVALHO
JAN MARTENS
IRIS EREZ
LISBETH GRUWEZ
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CALENDAR
MC 93 May, Friday 4, Saturday 5
BOBIGNY 19:30 Hall Christian Bourgois
Perrine Valli, Si dans cette chambre un ami attend… (60 min) CREATION
21:00 Salle Oleg Efremov
Emmanuelle Huynh, Augures (60 min) CREATION
LA DYNAMO DE May, Wednesday 9, Thursday 10
BANLIEUES BLEUES 20:30 Aurélie Gandit, Histoires de peintures (30 min) CREATION
PANTIN
+ La Variété française est un monstre gluant (60 min)
MAISON DU THÉÂTRE May, Saturday 12
ET DE LA DANSE 20:30 Julie Dossavi, Cross & Share (60 min) CREATION
ÉPINAY-SUR-SEINE
May, Sunday 13
16:00 Julie Dossavi, Cross & Share (60 min) CREATION
LA CHAUFFERIE May, Saturday 12
SAINT-DENIS 17:00 An Kaler, Insignificant Others (learning to look sideways) (60 min)
Lisbeth Gruwez, It’s going to get worse and worse and worse, my friend.
(45 min)
May, Sunday 13
18:00 An Kaler, Insignificant Others (learning to look sideways) (60 min)
Lisbeth Gruwez, It’s going to get worse and worse and worse, my friend.
(45 min)
LE FORUM May, Tuesday 15, Wednesday 16
BLANC-MESNIL 19:30 Hall Betsy Jolas
Elli Medeiros / Mickaël Phelippeau, Sueños (60 min) CREATION
21:00 Hall Barbara
DD Dorvillier, Danza Permanente (60 min) CREATION
ESPACE 1789
SAINT-OUEN
May, Saturday 19
17:30 Patricia Brignone, La Danse à l’heure de la performance
(90 min) CONFÉRENCE
19:30 Paul
Paul--André Fortier, Bras de plomb (60 min)
21:00 Tânia Carvalho, 27 os (27 bones) (50 min)
May, Sunday 20
16:30 PaulPaul-André Fortier, Bras de plomb (60 min)
(50 min)
18h:00 Tânia Carvalho, 27 os (27 bones)
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CALENDAR
ESPACE MICHELMICHEL-SIMON May, Tuesday 22
NOISY-LE-GRAND 20:30 Frank Micheletti, Tiger Tiger Burning Bright (60 min)
CENTRE NATIONAL May, Wednesday 23, Thursday 24, Friday 25
DE LA DANSE 19:00 Studio 3
Matija Ferlin, SAD SAM Lucky (60 min) CREATION
PANTIN
20:30 Grand Studio
Catherine Diverrès, Stance II (25 min)
+ O Senseï… (34 min) CREATION
LE COLOMBIER May, Tuesday 29, Wednesday 30, Thursday 31
BAGNOLET 20:00 Marjana Krajać,
Kraja , Short Fantasy about Reclaiming the Ownership over my
Own Body
(25 min)
Iris Erez, Temporary (17 min)
Janet Novás, Cara Pintada (53 min)
NOUVEAU THÉÂTRE
MONTREUIL
June, Friday 1, Saturday 2
19:00 Hall Maria Casarès
Simone Aughterlony, We need to talk (75 min)
21:00 Hall Jean-Pierre Vernant
Liat Waysbort Male Version (22 min)
Jan Martens A small guide on how to treat you lifetime companion (30 min)
Clara Furey / Benoît Lachambre, Chutes Incandescentes (60 min) CREATION
Shuttles from Paris will be available to the public for performances in Blanc-Mesnil, Épinay-sur-Seine, Noisy-le-Grand and
Saint-Denis and for transfers between Saint-Denis and Épinay-sur-Seine .
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MC93, Bobigny (hall Christian Bourgois)
May, Friday 4 - May, Saturday 5 - 19:30
PERRINE VALLI (Switzerland/ France)
Si dans cette chambre un ami attend...
60 min. solo CREATION
Conception and choreography Perrine Valli
Interpretation Perrine Valli
Sound Eric Linder
Lights Laurent Schaer
Scenography and costumes Thibault Vancraenenbroeck
© Akatre
Drawing inspiration from the feminine figure of Emily Dickinson, If in that room a
friend await… uses the bedroom as a metaphor of identity and intimacy. The play
centers around what this special place shelters: from love to tears, from sexuality to
introspection, from dreams to nightmares and real or metaphorical mourning. Perrine
Valli takes us through an imaginary journey of the mind, marked by mystery and
ambiguity.
Production・
Production・Compagnie Sam-Hester
Coproduction ・ADC / Geneve, Rencontres chorégraphiques internationales de Seine-Saint-Denis
Support・
Support・Ville de Genève, Loterie romande genèvoise, Pro Helvetia
Partners・
Partners・ Micadanses / Paris, Berlin Tanz Wagt
Perrine Valli was born in Aix en Provence in 1980. She studied ballet and contemporary dance at the
Conservatory of Aix en Provence. She continued her education at the Hallet Eghayan School, at the same time
studying Arts at the University of Lyon. A year later, she was accepted at the National Conservatory of Lyon
and in 2001, she entered the CDC (Choreographic Development Center) of Toulouse. After that, she obtained
a scholarship to join the London Contemporary Dance School, where she graduated in 2002.
After her graduation, she went to America for three months, doing workshops on improvisation with Julyen
Hamilton, Nancy Stark Smith, Kirstie Simson, Daniel Lepkoff, Olivier Besson and Andrew de L.Hardwood.
Back in Europe, she went to Switzerland to work with Estelle Heritier at the Arsenic Theatre, on a piece called
A5. She also did a project entitled Temps Morts with the Collective de la Dernière Tangente at the Theatre of
Vidy in Lausanne and at the National Theatre of Sénart in Paris. She than met the choreographer Cindy Van
Acker with whom she worked on several projects: Corps 00:00 at the Biennale of Venezia and Teatro
Comandini in Cesena (directed by Roméo Castelluci) , Pneuma and Puits with Vincent Barras and Jacques
Demierre. She has also performed in Van Acker’s last creation Kernel, showed at the Grütli theatre of Geneva,
with the musician Mika Vainio, Pan Sonic.
In 2005, she started her own company called Association Sam-Hester. Her first piece Ma cabane au Canada
played at the Usine Theatre in Geneva and at Mains d’Oeuvres, in Paris. In april 2006, she obtained a three
year residence at Mains d’Oeuvres in Paris where she created her second piece called Série. This piece wins the
first prize at the Masdanza international choreography contest in Spain, and is also chosen for the Swiss
platform Tanz > Faktor>Interregio 2008. Perrine Valli presents a third piece Je pense comme une fille enlève
sa robe in January 2009, at the festival Faits d'Hiver in Paris and at the theatre l'Usine in Geneva. She receives
a research stipendium from Cultures France "Hors les murs" which will take place in Japan in 2009. In may,
she has been rewarded with the second prize of the Premio contest in Zurich. At the moment she works on a
new piece called Je ne vois pas la femme cachée dans la forêt (« I don't see the woman hidden in the
forest »).
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MC93, Bobigny (hall Oleg Efremov)
May, Friday 4 - May, Saturday 5 - 21:00
EMMANUELLE HUYNH (France)
Augures
60 min. 7 interpreters CREATION
© Marc Domage
Conception et choreography Emmanuelle Huynh
Artistic collaborator Pascal Queneau
Interpretation
nterpretation Nuno Bizarro, Talia De Vries, Yoann Demichelis, Corinne Garcia, Fragan
Gelkher, Christophe Ives, Betty Tchomanga
Interpreters associated to the work Madeleine Fournier, Johann Nohles, Marie Orts,
Aline Landreau
Scenography and costumes Nadia Lauro
Lights Yannick Fouassier
Sound Olivier Renouf
Advisor Alexandre Del Perugia
Costumes production Michele Amet
A variation channeling the perpetual tensions affecting an individual’s destiny,
Emmanuelle Huynh’s new work takes on the myth of the uniqueness of the being. She
bases her piece on the constantly evolving, repeating changes affecting the individual
from childhood to adulthood, the different faces appearing and disappearing in
succession, the resonantly mobile moments of our existence. Accentuated by the rhythm
of an unending fall, the performance space becomes a character in its own right, a
special point of contact for the seven dancers experiencing mass solitude.
Production・Centre
national de danse contemporaine Angers
Production
Coproduction・Rencontres chorégraphiques internationales de Seine-Saint-Denis
Coproduction
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LA DYNAMO DE BANLIEUES BLEUES, Pantin
May, Wednesday 9 - May, Thursday 10 - 20:30
AURELIE GANDIT (France)
Histoires de Peintures
30 min. solo CREATION
Conception et choreography Aurélie Gandit
Dance Aurélie Gandit
Sound accompaniment Yvain Von Stebut
Advisor Marie Cambois
© Aurélie Gandit
Histoires de peintures is a choreographic interpretation of art historian Daniel Arasse’s
work. By associating recorded voices and dancing, this solo seeks to embody the
exhilarating texts of a man who “with joy shared an artist’s approach to art history”
and to arouse the audience’s desire to look at paintings in a new way. This solo is
based on an excerpt from the book Histoires de peintures (Ed. Denoel) which brings
together a written transcription of 25 radio programs recorded by Daniel Arasse for
Radio France Culture during the summer of 2003.
Coproduction・
Coproduction・Rencontres chorégraphiques internationales de Seine-Saint-Denis, Compagnie La Brèche Aurelie Gandit
Accueil studio・
studio・Centre chorégraphique national du Havre
Support・
Support・CCN-Ballet de Lorraine et Arsenal de Metz - EPCC Metz en scènes
Financial partner・
partner・ Conseil regional de Lorraine - Aide a la creation
Project initiated as part of Transform / Royaumont Foundation in collaboration with Noëlle Simonet
AURELIE GANDIT (France)
La variété française est un monstre gluant
60 min. duo
© Julien Demengel
Conception Aurelie Gandit et Matthieu Remy
Dance Aurelie Gandit
Reading Galaad le Goaster
Text Matthieu Remy
Advisor Perrine Maurin
Choreographic glance Marie Cambois
Musical hacks Yvain Von Stebut
Light Thomas Brouchier
Costumes Eleonore Daniaud
Dedicated to French popular music from the 60’s onwards, from Serge Gainsbourg to
Michel Sardou, this danced conference investigates its fascinating, exalting and
sometimes appalling facets. Matthieu Remy’s words analyse the stylistic devices and the
demagogic or terribly philosophical rhetoric of these popular tunes. Galaad Le Goaster’s
reading accompanies the danced movements performed by Aurelie Gandit. And viceversa.
Coproduction ・l’acb - Scène nationale de Bar-le-Duc, Compagnie La Brèche-Aurelie Gandit
Partners ・Conseil régional de Lorraine - Aide a la création, Ville de Nancy - Aide a la création, ADDAM 54
Support ・CCN - Ballet de Lorraine
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MAISON DU THÉÂTRE DE LA DANSE, Épinay-sur-Seine
May, Saturday 12 - 20:30
May, Sunday 13 - 16:00
JULIE DOSSAVI (France)
Cross & Share
60 min. 3 interpreters CREATION
© Grégory Brandel
Conception Julie Dossavi
Shared choregraphy Julie Dossavi, Hamid Ben Mahi, Serge-Aime Coulibaly, Thomas
Lebrun
Direction Julie Dossavi et Michel Schweizer
Dramaturgy et scenography Michel Schweizer
Interpretation dance Julie Dossavi
Interpretation vocals Moira
Interpretation piano and musical composition Olivier Oliver
Texts Michel Schweizer
Light Ivan Mathis
Costumes Julie Dossavi
Cross & Share delves into the idea of the solo dance “as being many on the stage” by
utilizing artistic collaborations around a principle of shared creation. It gives Julie
Dossavi the opportunity to open her work up to new spaces, confronting new artistic
universes. After composing and interpreting solos and having asked the choregrapher
Daniel Larrieu to write a solo for her in 2004 (still actively performed), Julie Dossavi
explores a third path, that of co-composition, co-writing with two authors,
choregraphers, musicians, and a director: Thomas Lebrun, Serge-Aimé Coulibaly, Hamid
Ben Mahi and Michel Schweizer. This question of dialogues, of exchanges of universes,
of languages, of visions is constantly present in Julie Dossavi’s oeuvre.
Production ・Compagnie Julie Dossavi
Coproduction ・Rencontres chorégraphiques internationales de Seine-Saint-Denis, Les Treize Arches / Nouveau
Theatre de Brive, Compagnie Hors Serie, Centre chorégraphique national de la Rochelle - Poitou-Charentes,
Kader Attou - Compagnie Accroprap et CNCDC Chateauvallon - accueil studio
Support・les
Ballets C de la B, Gand, Belgique, Maison des 3 Quartiers, Centre de Beaulieu et Espace Mendes
Support
France, Poitiers, Centre national de la danse, Pantin, Centre chorégraphique national de Tours, Maison du
Theatre et de la Danse d’Epinay-sur-Seine
La compagnie Julie Dossavi est subventionnée par le Ministère de la Culture et de la Communication / Drac
Poitou-Charentes au titre de l’aide a la compagnie, la Région Poitou-Charentes et le Département de la Vienne
par qui elle est conventionnée.
Julie Dossavi est artiste en partage au Centre chorégraphique national de La Rochelle.
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LA CHAUFFERIE, Saint-Denis
May, Saturday 12 - 17:00
May, Sunday 13 - 18:00
AN KALER (Austria)
Insignificant Others (learning to look sideways)
60 min. trio
© Eva Würdinger
Conception An Kaler
Interpretation Alex Baczynski-Jenkins, An Kaler, Antonija Livingstone
Lights Bruno Pocheron
Scenography Stephanie Rauch
Music and sound Brendan Dougherty
Dramaturgy Heike Albrecht
Insignificant Others is part of a longterm physical and creative practice An Kaler
develops in exchange with different artists. Extending the previous study on notions of
the still (image) in movement the upcoming edition – (learning to look sideways) –
adresses the processes of the performers co-operating in modes of conducting,
structuring and shifting a shared topography of physical presence and absence.
Harboured in that which is deemed unaffirmative pure potential is what is performed.
Production · An Kaler, e.V. c/o das Schaufenster, Vienne
Coproduction · Tanzquartier Wien, Tanzfabrik Berlin, Tanztage Berlin
Support · Wien Kultur / Département de la culture de Vienne, Forum culturel autrichien, Advancing
performing arts project et Turbo Residence Impulstanz
LISBETH GRUWEZ (Belgium)
It’s going to get worse and worse and worse, my friend.
45 min. solo
Conception, dance et choreography Lisbeth Gruwez
Composition, sound designer and assistant Maarten Van Cauwenberghe
Costumes Véronique Branquinho
Advisor Bart Meuleman
Lights Harry Cole, Caroline Mathieu
© Luc Depreitere
A speech can be a mighty weapon. Throughout the centuries it has enthused countless
masses and galvanized them into action, for better or for worse. It has unleashed revolutions and fueled wars. Just by the power of words. But a speech does not only enthuse the hearers, often it also transposes the speaker into a state of trance. Then he
loses himself in a stream of words, in an obsessive, ecstatic way of speaking. The power of a speech often depends on the trance of the speaker. In It’s going to get worse
and worse and worse, my friend Lisbeth Gruwez dances the trance of that ecstatic
speechifying. In the process, she takes advantage of fragments from a speech by the
ultraconservative American televangelist Jimmy Swaggart. Initially the parlance is friendly and pacifying, but from his compulsive desire to persuade transpires growing despair. Eventually it exposes its deepest nature: violence.
Production・
Production・Voetvolk vzw
Coproduction・
・Grand Theater Groningen, Troubleyn / Jan Fabre, Theater Im Pumpenhaus
Coproduction
Diffusion・
Diffusion・ Key Performance
Support・
Support・ Provincie West-Vlaanderen, Vlaamse Gemeenschap
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LE FORUM, Blanc-Mesnil (hall Betsy Jolas)
May, Tuesday 15 - May, Wednesday 16 - 19:30
ELLI MEDEIROS ET MICKAËL PHELIPPEAU (France)
Sueños
60 min. duo CREATION
Conception and interpretation Elli Medeiros, Mickaël Phelippeau
Sound Éric Yvelin
Lights Érik Houiller
Assistants Pascale Paoli, Valérie Castan
© Pascale Paoli
Sueños is a two-headed choreographic self-portrait created by Elli Medeiros and Mickaël
Phelippeau. Before they met, all they knew about each other was that he loved her
song Toi mon toit, and that she loved his photographic series of “bi-portraits”. When
they met in 2008 to create the bi-portrait Elli M., he discovered a prolific artist. In 2011,
he invited her to collaborate on a joint choreographic project. She accepted, suggesting
the title: Sueños (“Dreams”...in Spanish because he likes the sound of Elli’s mother
tongue) to “shape and stage each others dreams”... the dreams you dream, and the
dreams you have.
Production · bi-p association
Coproduction · Rencontres chorégraphiques internationales de Seine-Saint-Denis, Le Quartz, Brest, Scène
nationale d’Orléans
Support for the creation · Région Centre
Support · La Ferme du Buisson, Marne-la-Vallée, Ménagerie de Verre, dans le cadre des Studiolab, Paris,
Laboratoires d’Aubervilliers, Théâtre de Gennevilliers - Centre dramatique national de création
contemporaine, Collector Lille 2011, dans le cadre du projet Code de Nuit © Cécile Paris
Residence · Emmetrop / Bourges
Elli Medeiros,
Medeiros singer, songwriter, actress, designer and director, born in Montevideo (Uruguay) lives and
works between France, Argentina and Uruguay.
Mickaël Phelippeau,
Phelippeau dance and visual artist born in Nantes, lives and works in France. He is an associate artist
atLe Quartz - scène nationale de Brest.
Rencontres chorégraphiques
2011 Number of objects
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LE FORUM, Blanc-Mesnil (hall Barbara)
May, Tuesday 15 - May, Wednesday 16 - 21:00
DD DORVILLIER / HUMANE FUTURE DANCE CORPS (USA)
Danza Permanente
60 min. 4 interpreters CREATION
Choreography and concept DD Dorvillier
Sound design and musical direction Zeena Parkins
Interpretation Fabian Barba, Nuno Bizarro, Walter Dundervill, Naiara Mendioroz
Artistic assistant Heather Kravas
Lights Thomas Dunn
© Zeena Parkins
The choreography of Danza Permanente comes from a musical composition created in
Vienna two centuries ago by a deaf man. Initially written for four stringed instruments,
the score is transposed into movement for four dancers.
They embody the musical structure, behaviors, and dynamics of the string quartet over
time, and through space. The dancers behave as sound, in their becoming of visible
music in silence.
Production・
Production・Human future dance corps
Coproduction・
Coproduction・Rencontres chorégraphiques internationales de Seine-Saint-Denis, The Kitchen, New York,
Etats-Unis, STUK Kunstencentrum, Leven, Belgique, Centre national de danse contemporaine, Angers, PACT
Zollverein, Essen, Allemagne
Support・
Support・ MAP Fund avec l’aide de la Doris Duke Charitable Foundation et de la Andrew W. Mellon
Foundation, French-US Exchange in Dance, National Dance Project / New England Foundation for the Arts,
Services culturels de l’Ambassade de France a New-York, French America, Cultural Exchange soutenu par la
Doris Duke Charitable Foundation et la Florence Gould Foundation, Bourse de recherche chorégraphique de
la John Simon Guggenheim Memorial Foundation
Residence・
Residence・STUK, PACT, Performing Art Forum, CNDC Angers, Menagerie de Verre dans le cadre des
Studiolab
DD Dorvillier is a choreographer and performer from New York. Through her company, human future dance
corps, she has produced many works, presenting them in the US, Europe, Asia, and Latin America. She has also
taught worldwide in state and private institutions, festivals, and schools. She has worked with David Bergé in
different capacities including the creation of a collaborative the photo-installation Half a Train (2007). Her
work Choreography, a Prologue for the Apocalypse of Understanding, Get Ready! was presented in Belgium
most recently at Kaai Theater, and deSingel. Recent collaborative projects include: The Blanket Dance (2011)
with Frédéric Gies and Jefta van Dinther, Pièce Sans Paroles (2010) with Anne Juren and Annie Dorsen, RMW
(a) & RMW (2004) with Jennifer Monson, and Anarchive #2:secondhand (2010) with Deuffert/Plishke. In
2003 she received a Bessie for her quartet Dressed for Floating and in 2010 for her performance in Parades &
Changes, replays, a re-activation of Anna Halprin’s seminal Parades & Changes (1965), directed by French
choreographer Anne Collod. Dorvillier maintains on-going artistic partnerships with Composer Zeena Parkins
and Lighting Designer Thomas Dunn. She has worked with many artists including: Sarah Michelson, Jennifer
Lacey, Yvonne Meier, Heather Kravas, Elizabeth Ward, Jonathan Bepler, and Karen Finley, among others. She
has been awarded with fellowships from the New York Foundation for the Arts (2000), the Foundation for
Contemporary Arts (2007), and the Guggenheim Foundation (2011). Her upcoming project, Danza
Permanente, will permiere at STUK in Leuven in May 2012.
Rencontres chorégraphiques
2010 Pièces sans paroles, in collaboration with Anne Juren and Annie Dorsen.
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ESPACE 1789, Saint-Ouen
May, Saturday 19 - 19:30
May, Sunday 20 - 16:30
PAULPAUL -ANDRÉ FORTIER (Canada, Quebec)
Bras de plomb
50 min. solo
Choreography Paul-André Fortier
Interpretation Simon Courchel
Set design and accessories Betty Goodwin
Original music Gaetan Leboeuf
Lights jpt
Costumes Carmen Alie and Denis Lavoie from an original concept by Betty Goodwin
Direction of the repetitions and assistant choreographer Ginelle Chagnon
© Robert Etcheverry
The solo piece Bras de plomb originated from an inspired encounter between dancerchoreographer Paul-André Fortier and visual artist Betty Goodwin in 1993. From these
two artists’ obsession for the human body emerged this fascinating work. Paul-André
Fortier has chosen to hand over this work to dancer Simon Courchel, who will perform
with the technical maturity, stamina and charisma this outstanding piece requires. The
arms, at first free and fluid, gradually become imprisoned and movement then shifts to
the legs. The dance proceeds in a plodding manner, contrasting with the lead casing,
opening the door to a beautiful and unique experience.
Support・
Support・Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal,
Emploi Québec
Fortier Danse-Création is an active member of Circuit-Est centre chorégraphique.
PaulPaul-André Fortier founded his company in 1979. His highly theatrical and rigorous style of choreography
comments on the modern world and has had a significant impact on his peers and a whole new generation of
choreographers. His creative work is recognized on an international level and is distinguished by its search for
renewal and a desire to surpass itself. Fortier describes himself as “a man who dances” and constantly challenges
himself to meet the highest of artistic standards.
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ESPACE 1789, Saint-Ouen
May, Saturday 19 - 21:00
May, Sunday 20 - 18:00
TÂNIA CARVALHO (Portugal)
27 OS [27 BONES]
60 min. 3 interpreters and 1 pianist CREATION
© Tânia Carvalho
Direction, choreography Tânia Carvalho
Toy piano Joana Gama
Interpretation Luis Guerra, Luís Antunes, Sandra Rosado
Music Diogo Alvim
Costumes Aleksandar Protic
Characterization Tânia Carvalho
Lights Zeca Iglésias
Being on stage puts forward a complex situation in between pleasure and fear. Fear of
not being accepted, or understood. Fear of failure. In a sense it represents our life and the
way we live. We are constantly trying to find some sort of balance between being what
we want to be and being accepted by others. “Fear” lives within us, it forces us to sway
and move. These are sublime movements, nevertheless thought through and planned to
the last detail, containing a strong and complex emotional charge. A dance piece
composed with the help of abstract movements which are then destroyed by a strange
presence, something akin to the figuration of fear. Fear of failure.
Production・
Production・Bomba Suicida
Coproduction・
Coproduction・Teatro Viriato, Viseu, Cine Taetro Joaquim D’Almeida, Montijo
Residence・
Residence・ O Espaco do Tempo, Montemor-o-Novo, Cine Teatro S. Pedro, Alcanena and Teatro Viriato, Viseu
Support・
Support・ Alkantara, Balletshop, Lisbonne
Thanks・
Thanks・ Margarida Dias
Bomba suicide is funded by the Government of Portugal - Secretary of State for Culture
Tânia Carvalho was born in 1976, Portugal. Started classical dance with five years old. In 1991 attended the first
year of Superior Dance School (Lisbon, Portugal). Attended the two years course of Contemporary Dance for
interpreters in Forum Dança (Lisbon). In 2005 attended the Choreography Course in the creativity and artistic
program supported by Calouste Gulbenkian Foundation (Lisbon, Portugal). As a dancer worked with Francisco
Camacho, Carlota Lagido, David Miguel, Filipe Viegas and Vera Mantero. Also worked as an actress with
Projecto Teatral and participated in some video projects.
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ESPACE MICHEL-SIMON, Noisy-le-Grand
May, Tuesday 22 - 20:30
FRANK MICHELETTI (France)
Tiger Tiger Burning Bright…
60 min. 6 interpreters
© Laurent Thurin Nal
Conception and choreoraphy Frank Micheletti
Interpretation Viktoria Andersson, Idio Chichava, Ikue Nakagawa, Péter Juhasz, Csaba
Varga, Livia Bazalova
Lights Ivan Mathis
From this constant acceleration as it is experienced in towns, the phenomena linked to
dynamism will be explored: fluidity, new social relationships, multiple stimulations and
to test their limits: tension, agitation, disturbance, pressure… Facing the changes
engendered by the accelerations, the movements, the mutations of society, how do we
position and find ourselves and each other? How can these new ways of existence be
shared while respecting one’s intimate and collective desires, those that gradually
appearing in the construction of a renewal of the way of living?
Production・
Production・Kubilai Khan Investigations
Coproduction・
・Réseau Escales danse en Val d’Oise, CNCDC Châteauvallon, Le Manège - Scène nationale de
Coproduction
Maubeuge, Macon scène nationale, Association Beaumarchais-SACD,
Support・
Support・ Ballet national de Marseille dans le cadre de l’accueil studio
Residence・
Residence・ Réseau Escales danse en Val d’Oise (Espace Germinal, Fosses, L’Apostrophe - Scène nationale de
Cergy, Theatre Paul Eluard, Bezons), CNCDC Châteauvallon, Ballet national de Marseille
Kubilai Khan Investigations est conventionnée par le Ministère de la Culture et de la Communication / DRAC
Provence-Alpes-Côte d’Azur, subventionnée par la Région Provence-Alpes-Côte d’Azur, le Conseil général du
Var et la Ville de Toulon. Elle reçoit le soutien de l’Institut français pour ses projets a l’étranger.
15
CENTRE NATIONAL DE LA DANSE, Pantin (studio 3)
May, Wednesday 23 - May, Thursday 24 - May, Friday 25 - 19:00
MATIJA FERLIN (Croatia)
SAD SAM Lucky
60 min. solo CREATION
© Mauricio Ferlin
Choreography and interpretation Matija Ferlin
Dramaturgy Goran Ferčec
Text Srečko Kosovel
Music Luka Prinčić
Scenography Mauricio Ferlin
Lights Saša Fistrić
Costumes Matija Ferlin
GraphicsTina
Ivezić
Graphics
Visuel Christophe Chemin
Photo Danko Stjepanović
Assistant Ana Kovačević
SAD SAM Lucky s’inscrit dans une série de pièces ayant vu le jour à Amsterdam en 2004,
et s’appuie sur le travail du poète slovène Srećko Kosovel, empreint d’ironie, de
profondeur, et d’un sentiment de tragédie qui inspirent le chorégraphe au point qu’il les
transforme en manifeste corporel.
Production Rencontres chorégraphiques internationales de Seine-Saint-Denis, Centre national de la danse
Coproduction Zagreb dance center, Emanat
Organization Emanat
Partners Festival de danse et théâtre non verbal - San Vincenti
Support Ministère de la Culture de la République de Slovénie, La municipalité - ville de Ljubljana, La
municipalité - ville de Pula.
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CENTRE NATIONAL DE LA DANSE, Pantin (Grand Studio)
May, Wednesday 23 - May, Thursday 24 - May, Friday 25 - 20:30
CATHERINE DIVERRÈS (France)
Ô Sensei…
34 min. solo CREATION
© Kourit Masson Sékiné
Choreography et interpretation Catherine Diverrès
Scenic and artistic collaboration Laurent Peduzzi
Lights Marie Christine Soma
Costumes Cidalia da Costa
Musics Keiji Haino, Seijiro Murayama, Frédéric Chopin, Ingrid Caven,, J S BACH
« Ohno’s art is so unique that in the language of Butoh itself, he is Butoh, a sort of
hyphen between the worlds of the living and the dead. My experience with Ohno was
a deep, radical revolution, involving my entire being. I took my entire choreographic
vocabulary and language, accumulated over so many years –and chose to start over,
tabula rasa. » Catherine Diverrès
Production Compagnie Catherine Diverrès / Association d’octobre
Coproduction le CDC – Les Hivernales, le Centre national de la danse - Pantin, les Rencontres chorégraphiques
internationales de Seine-Saint-Denis, le Musée de la danse / Centre chorégraphique national de Rennes et de
Bretagne, le Centre chorégraphique national de Caen / Basse-Normandie dans le cadre de l'accueil-studio.
Thanks Collectif Rennes Métropole
Stance II
25 min. solo
Choreography Catherine Diverrès
Interpretation Carole Gomes
Lights Marie-Christine Soma Assistée de Pierre Gaillardot
Costumes Cidalia da Costa
Poem La Terra di Lavoro de et dit par Pier Paolo Pasolini
Music Eiji Nakazawa
© Tristan Valès
In Stance II, a lone female figure in a long dress, stands silhouetted against a background
of golden light. While Pier Paola Pasolini’s La Terra di lavoro plays into the void, she
moves with her shadow to create a graceful and courageous response to the sad words
of the song. Stance II was influenced by Diverrès’ time spent with Kazuo Ohno, a
seminal practitioner of the post-war Japanese dance form, Butoh, and echoes the beauty
and grace of classical Chinese and Japanese paintings.
« In her solo, Catherine Diverres unfolds time. Her presence and her gestures open up
abstract spaces, ineffable and intangible ». Irene Filiberti
Command of the 9ème Biennale nationale de danse du Val-de-Marne.
Coproduction Centre chorégraphique national de Rennes et de Bretagne, Le Théâtre Romain Rolland,
Villejuif, La Biennale nationale de danse du Val-de-Marne, La Ville de Villejuif, Le Théâtre National de
Bretagne, Rennes.
Aide à la création Conseil Général du Val-de-Marne
Catherine Diverrès made her mark in the 1980s when, turning her back on the dominant concepts of
American postmodern dance and her classical training, she developed her own choreographic language and
style. Dominated by striking visuals and poetic gestures, her work is provocative and profound.
Rencontres chorégraphiques
2007 Blowin’
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LE COLOMBIER, Bagnolet
May, Tuesday 29 - May, Wednesday 30 - May, Thursday 31 - 20:00
MARJANA KRAJAĆ
KRAJA (Croatia)
Short Fantasy about Reclaiming the Ownership over my Own Body
25 min. solo
© Sodaberg
Conception et interpretation Marjana Krajac
Dramaturgy Marko Kostanic
Lights Bojan Gagic
Graphics Valentina Toth
« My body is not owned by me. However essential my embodiment may be for my own
existence, I am not the owner of my body. My body is repressed by protocols, architecture, space
structures, other bodies, at times my body is also repressed by it’s very self. If I am not the owner of
it then that means that I am sharing it with some other instances, that some other instances too
claim and execute the right to use my body: to navigate it, to count on it, to take my body into the
responsibility. » Marjana Krajač
Realisation, production, partners・
partners・Croatian Institute for Movement and Dance, Zagreb Dance Center,
Danceweek Festival, Teatro Viriato Viseu Portugal, RE.AL Lisbon, W-Est_Where Programme, Ministry of
Culture of Republic Croatia and City Office for Culture Zagreb, Sodaberg, Tanzfabrik Berlin.
Thanks・
Thanks・ Joao Fiadeiro, Una Bauer et libela.org
Marjana Krajač
Kraja is choreographer, author and dancer. She graduated from State School for Contemporary
Dance “Ana Maletić” in Zagreb, Academy of Performing Arts in Berlin and has also studied theology and
religion science at Humboldt Universität zu Berlin. She worked with Grupe Dunes in Marseille, collaborated
with Mårten Spångberg and Meg Stuart in projects Choreographers’ Venture - The Adventure and Everyday
Heroes/Extern Sources. She is a past recipient of the DanceWEB scholarship and Mobile Academy Berlin
scholarship with master classes of Chen Shi Zheng, Jossi Wieler and Ulrike Haage where she specializes in
opera material research. In 2009 her project THE STORE was nominated for T-HT Award of the Museum of
Contemporary Art in Zagreb. Author of 11 full-evening works, her choreographic work reaches to limitless
formats always stretching the notion of what choreographic practice, as well as what art as such, can and dare
to propose as aesthetic and cultural statement. She worked for and with numerous regional and internationals
venues and festivals, and in 2008 her choreographic work „Ariadne on Naxos“ was selected for Enhanced
danceWEB Europe Contemporary Dance Coproduction Programme, Vienna. She lives and works between
Berlin and Zagreb where she developed collaborative Sodaberg.
IRIS EREZ (Israel)
Temporary
17 min. solo
© Bart Grietens
Choreography Iris Erez
Interpretation Maya Weinberg
Music Hanayo, Vanessa Paradis
Music publishing Jeremy Berenheim, Yaniv Mintzer
Production Sharon Aloni
Lights Tamar Orr
A dancer in her own space, trying to capture time through the paradox of destruction
and production her body holds. Mundane clothes become metaphorical references
ranging from body parts to memories, and raising questions about femininity,
performance, exposure, and our ability to say something meaningful.
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LE COLOMBIER, Bagnolet
May, Tuesday 29 - May, Wednesday 30 - May, Thursday 31 - 20:00
JANET NOVÁ
NOVÁS (Spain)
Cara Pintada
53 min. solo
© Piti Prieto
Concept Janet Novás
Interpretation Janet Novás
Assistant Ricardo Santana
Original music Haru Mori
Costumes Juana Rodríguez
Lights Pedro Fresneda, Antón Ferreiro
Photos Piti Prieto, Juan Adrio
Video Tía Mardalina
Janet Novás is on the stage, on her own. Then, she gradually surrounds herself with a
world she builds up, her world. She recalls all her souvenirs and calls for her future, she
sets the present time, hangs empty frames on the wall, a gallery of different mysterious
characters that is full of promises. When the show is over, Janet is not alone any more as
she has made us join her through transmitting her strength, her emotion, her energy. We
now belong to her family, we are now part of the galleries she has installed. Never again
will she be out of frame…
Collaboration・
Collaboration・Provisional Danza, Madrid, Centro Cultural Garcia Lorca, Bruxelles
19
NOUVEAU THÉÂTRE, Montreuil (hall Maria Casarès)
June, Friday 1, June, Saturday 2 - 19:00
SIMONE AUGHTERLONY (Switzerland)
We need to talk
70 min. solo (subtitles)
© Jorge Leon
Conception et interpretation Simone Aughterlony.
Dramaturgy Jorge León.
Musical direction Marcel Blatti.
Music Sounds of Earth, Golden Record compiled by Nasa in 1977.
Lights Ursula Degen.
Graphics Bringolf Irion Vögeli, David Bühler, Natalie Bringolf, Aline Dallo, Kristin Irion,
Zurich
« If we want to continue beyond the next 100 years our future is in outer space. »
Stephen Hawking
In We need to talk, Simone Aughterlony endeavours to marry the last 33 years of the
Voyager spacecrafts journey through space and time with her own existence and scant
travels. She peers up with Voyagers onboard passenger: the Golden Record and it’s
selection of sounds, images and music designed to encapsulate life on planet Earth and
destined for any extraterrestrial civilization that may encounter it. Simone becomes
embroiled in some kind of improbable dialogue whereby biographical details,
anecdotal dances and thoughts on a possible future collide with the record’s eclectic
compilation.
Production Verein für allgemeines Wohl.
Coproduction Theaterhaus Gessnerallee Zürich, Dampfzentrale Bern.
Support Stadt Zürich Kultur, Fachstelle Kultur Kanton Zürich, Pro Helvetia Schweizer Kulturstiftung.
Simone Aughterlony (1977) graduated from the New Zealand School of Dance in 1995. Since moving to
Europe she has been involved with various artists in the roles of both performer/deviser and as a
choreographer. She joined Meg Stuart/Damaged Goods in 2000 and worked on the productions of Highway
101 and Alibi among others. She has choreographed for theatre productions in Schauspielhaus Zürich,
Volksbühne Berlin and Burg Theatre Wien under the direction of Falk Richter, Stephan Pucher and Niklaus
Helbling.
Simone first began the production of her own performance work in 2003 with the presentation of her solo
Public Property. Her subsequent works Performers on Trial and the group work Bare Back Lying have toured
extensively in Europe.
She collaborated with the video artist Meika Dresenkamp to create Between Amateurs in 2006. Upon
invitation from SPIELART Münich, Simone created the duet Tonic which was presented upon
recommendation of Tim Etchells in the frame of What’s Next? in November 2007. The group work The Best
and the Worst of Us premiered in February 2008 and toured Europe as did the recent collaborative work
with Isabelle Schad Sweet dreams are made. Most recently, Simone collaborated with filmmaker Jorge Leon
on the project To serve, a trilogy on the subject of domestic servitude that premiered at Kunsten Festival
Brussels in May 2010.
Rencontres chorégraphiques
2007 Performers on Trial
2009 The Best and the Worst of Us
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NOUVEAU THÉÂTRE, Montreuil (hall Jean-Pierre Vernant)
June, Friday 1, June, Saturday 2 - 21:00
LIAT WAYSBORT (Netherlands / Israel)
Male Version
22 min. duo
© Pepijn Lutgerink
Choreography Liat Waysbort
Interpretation Maarten Hunink et Martjn Kappers
Music Rage against the Machine, Dean Martin, Elvis Presley
Lights Remko van Wely
Costumes Liat Waysbort
Dramaturgy Peggy Olislaegers
The tragic elements in the life of Elvis Presley has intrigued Liat Waysbort and inspired
her to take a closer look into the male universe. Dansateliers invited her to explore her
fascination and research how manhood relates to physical expression, rock and roll and
hip movements. In Male Version Liat Waysbort challenges our traditional views of
masculinity, as it is reinforced by nowadays popular culture. Male Version was created in
collaboration with two dancers of the Conny Janssen Danst company.
Production Dansateliers
Coproduction Conny Janssen Danst
Choreographer and dancer Liat Waysbort has gradually realised that her identity is inextricably linked to her
roots - an identity that is clearly formed by the specific history of Israel, where she was born and raised.
Waysbort’s roots play an ever-increasing role in her performances. She is fascinated by memories: how our
bodies retain them, their emotional impact. Memories that Waysbort calls up and translates to the present. Her
work is warm and powerfully emotional, but not sentimental. Liat Waysbort was born in 1974 in Tel Aviv
where she began her dance training. She danced with the Bat-Sheva Ensemble and the Bat-Sheva Dance
Company. She moved to the Netherlands in 2000 and studied choreography at Rotterdam Codarts. Besides
working as dancer and choreographer, Waysbort teaches at the Amsterdam School for the Arts.
Jan Martens (Belgium / Netherlands)
A small guide on how to treat you lifetime companion
30 min. duo
Concept Jan Martens
Performance Jan Martens, Steefka Zijlstra
Costumes Olivier Waelkens
Repeater Peter Seynaeve
© Stephane Van Hesteren
A small guide on how to treat your lifetime companion is a wordless moving image, an
intimate performance on a small surface. It is a couple dance in the most literal sense of
the word: without leaving each other’s sides, Jan Martens and Steefka Zijlstra show five
key moments in a relationship. With A small guide on how to treat your lifetime
companion Jan Martens creates a piece about love, a tender and intimate performance
both comforting and confronting.
Production・
Production・Frascati
Thanks・
Thanks・ United-C, Productiehuis Brabant, kc nOna and STUK Leuven
Jan Martens (1984) was born in Belgium and received his dance training at the Royal Conservatory for Dance
at the Artesis Academy in Antwerp. And also at the Fontys Dance Academy in Tilburg. As a dancer Jan Martens
was featured in works by a.o. Koen de Preter, United-C and Ann Van den Broek. Since 2009 he has been
developing his own pieces as well. Instead of focusing on dansante virtuosity or complex choreography Jan
centers his work around the ugliness and beauty of everyman.
21
NOUVEAU THÉÂTRE, Montreuil (hall Jean-Pierre Vernant)
June, Friday 1, June, Saturday 2 - 21:00
CLARA FUREY / BENOÎT LACHAMBRE (Canada, Quebec)
Chutes incandescentes
60 min. duo CREATION
© Francis Ducharme
Concept et choreography Benoît Lachambre
Music ans musical direction Clara Furey
Interpretation Benoît Lachambre et Clara Furey
Texts Jellalludin Rûmi, in english, Benoît Lachambre, in french, inspired by
Mahâbhârata, and Clara Furey, Nobody Knows and Black Crown
Lumières Lucie Bazzo
Scénographie Benoît Lachambre avec la collaboration d’Annick La Bissonnière
Création des accessoires Alain Jenkins
Regard extérieur Céline Bonnier
Choreographer-dancer Benoît Lachambre and autor-compositor-performer Clara Furey
share a common dream and combine their talents in a solo for two body unclassifiable
and passionate. Inspire by Rumi’s poem and text from Mahâbhârata, they invite us to
face up to the incandescent falling of Ravana the demon, through a dream where
Ravana’s phobias are mixed with semi-god Rama’s disguised interventions, those of the
beautiful Sita and Hanuman – Monkey God warrior. Voices embrace piano riveted to
bodies that become instruments of darkness and light.
Production・
Production・Par B.L.eux, Montreal
Coproduction・
Coproduction・Festival TransAmeriques, Montréal, Rencontres chorégraphiques internationales de SeineSaint-Denis, Agora de la Danse, Montréal
Financial support・
support・ Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Ministère des
affaires étrangeres du Canada, Conseil des arts de Montréal
Special thanks・
thanks・ Théâtre de Quat’Sous, Montréal, Ong Keng Sen pour le solo « … Comme un chat assis au
bord d’un océan de lait, espérant le lécher au complet », créé avec et pour Benoît Lachambre et qui a servi a
la mise en chantier de ce travail
Benoît Lachambre is a Montréal-based choreographer, dancer, improviser, teacher and artistic director of his
own company Par B.L.eux founded in 1996. Benoît has been a part of the international dance community for
the past thirty years. He began his career in jazz and modern dance with companies as Les ballets-Jazz de
Montréal, Pointépiénu and Toronto Dance Theater before he moved to New York and danced and studied
with Stéphanie Skura and Nina Martin, among others. Since then he has devoted himself to an exploratory
approach of movement and its sources and to seeking authenticity of motion. In his works, Benoît
exploresthe dynamics of communication and perception, and elements of the visual and performance arts are
inseparable from dance. Par B.L.eux is devoted to contemporary and interdisciplinary choreographic creation,
and the close connection to an international network of artists. The company has toured around the world,
essentially in Europe, but also in the Americas and Asia.
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