L`ogresse des archives et son chien
Transcription
L`ogresse des archives et son chien
L’ogresse des archives et son chien Creation 2010 au 08.04.14 L’Ogresse des archives et son chien Audience: From 8 years Running time: 1h15 / 1h (for the young audience) Choreography and set design Christian and François Ben Aïm Performance Peggy Grelat-Dupont, Waldemar Krechkowsky, Paolo Locci, Grégoire Puren, Pierre-Emmanuel Sorignet, Gill Viandier, François Ben Aïm, Mathilde Sternat (cello), Bruno Ferrier (vocal and percussions), Music Jean-Baptiste Sabiani Video Mélusine Thiry Costumes Dulcie Best Lights Laurent Patissier General management Luc Béril Light direction Laurent Patissier Sound direction Sébastien Teulié Actors film Eva Defouloy-Mosoni, Jean Ben Aïm, Christian Ben Aïm Production: CFB 451 Coproductions: Théâtre de La Madeleine - scène conventionnée de Troyes, Espace Gérard Philipe de Saint-André-lesVergers, Théâtre Paul Eluard - scène conventionnée de Bezons, Espace 1789 de Saint-Ouen, Théâtre Paul Eluard de Choisyle-Roi, Le Théâtre – Scène Nationale de Mâcon, Atelier de Paris - Carolyn Carlson et CDC Paris Réseau centre de développement chorégraphique (Atelier de Paris-Carolyn Carlson, L’étoile du nord, Micadanses-ADDP, studio Le regard du Cygne-AMD XXe), ARCADI – aide à la production et à la diffusion en Ile-de-France (2011-2012 et 2012-2013) Accueil studio: Red Brick project CCN Roubaix Nord-Pas de Calais - Carolyn Carlson, CCN de Biarritz - Thierry Malandain, CCN de Créteil et du Val-de-Marne - Cie Kafig Supports artistic project: ADAMI, Conseil Général du Val-de-Marne, CDC du Val-de-Marne pour la diffusion dans le 94, Spedidam (pour la diffusion en 2012), Conseil Régional de Champagne-Ardenne - ORCCA, Ville de Palaiseau Choreographic residencies: Hostellerie de Pontempeyrat – association Regards et Mouvement artistic intentions Louves, a beginning The choreographic piece Louves created in October 2008 by Christian Ben Aïm gived the tone of this project. This short performance of 14 minutes is the beginning of the creation process for this piece, L’Ogresse des archives et son chien for its choreographic writing, for its construction and for its surrealistic atmosphere. The universal tales have inspired Louves. It presents various imaginary feminine figures which are simultaneously precious, warriors and delicates. This metamorphosis takes place into a fantastic and playful world, between innocence and cruelty. © Arthur Péquin Press clipping From the backgrounds, he charges on a tiny child bike, wrapped in a red cape and dragging a fur like a corpse. From the “Princess” (principal themes of this event) Christian Ben Aïm gives us a particularly view: those of a 3-4 years old “Little Red Riding Hood” who having a fit of anger, stealing his mum’s accessory (shoes to run away) and those of the woodcutter (the axe). With circus and theatre elements, the young choreographer is like a breath of fresh air to the New Theatre auditorium of Poitiers. He brings madness in a quite wise event. Good idea from Odile Azagury to get together 21 choreographers. Mathieu Braunstein - Danser Fear, violence and power In this group piece, Christian and François Ben Aïm draw on and reinvent the fairy tale to help them investigate contemporary life. Like escapees from classic fables, a variety of legendary characters from Sleeping Beauty to Little Red Riding Hood and Tom Thumb invade the stage and coexist in this surreal fable. The fairy tale characters are updated so that they can become an extension of us all and of our inner reality. Their excesses enable the choreographers to explore human emotions and probe the dark side of our human nature. Christian and François Ben Aïm thus explore the themes of fear, violence and power by examining how we all react to them. Often addressed in literature and fairy tales, these subjects are also recurring themes in the choreographers’ work. © Patrick Berger UNUSUAL AND STRANGE Throughout the piece, the viewer oscillates between dream and reality. Reality is continually subverted and disrupted by the superimposition and surreal arrangement of the events represented. Different dimensions and proportions appear alongside each other: the infinitely small and very large, the multiplication of characters and unity. The dancers embody this strangeness in choreographic roles that exude offbeat attitudes and behaviours. The moves are unstructured, engaged and naïve, sweet and deformed, with an uncertain rhythm, monstrous jerks and absurd dance steps. The concept of metamorphosis, which is at the core of the piece, also drives this subversion. We witness various transformations, from princess to Little Red Riding Hood, from the Big Bad Wolf to the Sleeping Beauty, from the Ogre to Tom Thumb. © Estelle Brugerolles musique live This piece is also an opportunity for the choreographers to work with musicians on stage. Their desire to work with music can also be seen in their earlier pieces, You’re a bird, now! and Louves. In L’Ogresse des archives et son chien, a cellist and percussionist share the stage with dancers and circus artists. Combining dance and music with the theme of fairy tales creates a new dynamic and reinforces the poetic elements of the piece. The music is an original score by composer Jean-Baptiste Sabiani, who also wrote the scores for Résistance au droit and Valse en trois temps. The beauty, energy and originality of these compositions open up vast horizons of inspiration for the imagination. vidEos The play opens with a short film directed by Melusine Thiry, serving as prologue. The film presents a «realistic» framework, although mysterious, before the viewer is immersed in the fantasy world unveiled on stage. This film features two characters living in a forest: a man (Christian Ben Aïm) and child (Eva-Defouloy Mosoni). Fate will bring together these two lonely and independent. As two characters from completely different worlds, they will approach one another. Crossing looks without seeing each other, a hazardous chase takes place, a tree collapses ... many events that reflect a disintegrating reality that is disintegrating, shattering realism and unconsciousness. This film offers the premises of the immersion on stage, reveals the transition from reality to fantasy, and is the poetic world and unconscious inside manhood, which is elaborated on stage. creative initiatives L’Ogresse des archives et son chien has the particularity to bring together disciplines (dance, circus, music, video). This creation is an opportunity to discover one of these disciplines. For this piece, Christian and François Ben Aïm were inspired by the world of fairy tales. By invoking the characters that populate these stories, the choreographers worked on the idea of transformation, fascination and fear. The universe of stories, complex and abundant, is an inexhaustible theme which can be approached in a fun and relevant approach through writing, video, music or dance, both with children and adults. Some examples of workshops : -Choreography workshop around storytelling -Video Workshop - Workshop-around music -Meeting, discussion, sociological conferences (with Pierre-Emmanuel Sorignet, sociologist and dancer around his book Dancer christian and françois Ben Aïm A company The Ben Aïm brothers are all of this, and more: a fifteen-year partnership that has produced some twenty creations, strengthened by artistic collaborations from all backgrounds. Their story reads like a ploughed furrow, dug with the expertise of field workers liaising with performance spaces and communities. In the past three years, they have created some 350 shows that have helped them to establish an authentic company identity. © DR Two choreographer-dancers After studying dance, physical theatre and circus skills, they each set out to develop their performing careers independently in Canada and France. Once reunited, they laid the foundations for their company, which functions around the fraternal dynamic created by François and Christian: a meeting of minds and instincts, they continually bounce ideas off each other to produce artistic projects in constant evolution. © DR Standout pieces In 1996, the brothers created their cornerstone piece: A l’abri du regard des hommes, avant d’aller mourir ailleurs, a hybrid performance in which dancers and actors share and feed off each other’s raw physical energy. La Frontera and Ne vous fiez pas au titre, il peut encore changer followed in the same vein, showcasing a style of dance that blends subtle humour with elements of surprise. Other signature pieces include the diptych inspired by the work of Bernard-Marie Koltès, Carcasses, un œil pour deux and En plein cœur, whose original scenography and music resonate with the playwright’s texts. Among their latest productions, L’Ogresse des archives et son chien plays fully on the intersection of different disciplines, while Valse en trois temps flirts with minimalism. The brothers have also created in situ works on location, such as the monumental Mangrove Groove in China, and the ‘all-terrain’ piece Karma performed throughout the Pas-deCalais region. Partner venues This path has been possible thanks to the loyal support of numerous performance spaces, including municipal theatres (the Théâtre de Vanves, Théâtre Louis Aragon de Tremblay-en-France, and the Théâtre de la Madeleine de Troyes, with whom they partnered for six years), national theatres (Mâcon, Aubusson), Centres Chorégraphiques Nationaux (Roubaix, Orléans, Créteil), and L’Espace 1789 in Saint-Ouen. The company’s development is characterised by open-mindedness, exemplified by intimate solos that open up towards large-scale pieces, a physical style of writing that engages with cross-disciplinary art forms, and connections that lead to partnerships both within their local communities and abroad. It is also characterised by passion, which is always reignited when they push artistic and geographic boundaries. Background 1996 After returning from Quebec, Christian and François Ben Aïm began to research and develop original choreographies that combine dance and theatre. They created their first pieces during their time with the Eclats d’Art company. 1997 A l’abri du regard des hommes, avant d’aller mourir ailleurs (first creation) - 5 performers / Festival Avignon Off 1998 1998 L’Homme Rapaillé - 5 performers 1999 Un homme en marche - 5 performers / Festival Avignon Off 2001 2000 Creation dof the company CFB 451 2001 La Frontera - 5 performers Ô mon frère ! - 3 performers / Festival Avignon Off 2011 2003 Ne vous fiez pas au titre, il peut encore changer – 3 performers 2004 Carcasses, un œil pour deux - 2 performers 2004-2006 Residency at Micadanses / Paris 2006 En plein cœur - 9 performers Les quatres saisons de l’amour - 35 perfomers / Gala dinner for Amway – China 2006-2009 Residency of 3 years at the Théâtre de La Madeleine scène conventionée de Troyes 2007 You’re a bird, now ! - Solo 2007-2008 Residency Territoire(s) de la danse au Théâtre Louis Aragon – Tremblay-en-France 2008 Louves - Solo Amor Fati Fati Amor - 6 performers 2009-2012 Artistes associés au théâtre de La Madeleine - Scène conventionnée de Troyes, avec l’aide de la Région Champagne-Ardenne 2010 Valse en trois temps - 4 performers / Festival Avignon Off 2011 Résistance au droit - 4 performers 2011-2012 Residency at l’Espace 1789 de Saint-Ouen 2011 L’Ogresse des archives et son chien - 9 performers (dancers, musicians and artists circus) Mangrove groove, China - 50 performers / Publicis Event - Shenzhen, Chine. 2012 L’orée des visages (short form) - 4 performers / Collaboration with the company Pseudonymo 2013 Karma - 3 performers / Commissioned by the CCN de Roubaix - Carolyn Carlson La forêt ébouriffée - 2 performers / Création jfor young audience (from 7 years) L’orée des visages (long form) - 4 performers/ Collaboration with the company Pseudonymo These pieces have been performed in successive seasons and remain in the company’s repertoire. biographies performance: Peggy Grelat-Dupont - dancer Peggy Grelat-Dupont trained at the Opéra de Paris dance school before entering the Opéra de Paris ballet corps, where she remained for seven years. She then moved to Germany, where she danced with the Ballet Frankfurt for five years under the direction of William Forsythe. Back in France, she worked with Edouard Lock, the Opéra de Lyon with Christian Rizzo, Rachid Ouramdam, Sara Mitchelson, and Pierre Droulers, before joining Maguy Marin’s team at the Centre Chorégraphique National (CCN) of Rillieux-la-Pape. She remained there for three years, collaborating on all of their workshops and special events. More recently, she has worked with Boris Charmatz on three of his creations, and performed in Sacre du Printemps by Sasha Waltz. performance: Waldemar Krechkowsky - dancer Waldemar Kretchkowsky studied choreography at a vocational college of arts and culture in Ukraine, where his education introduced him to new forms of aesthetic expression. He later formed his own company and developed his creative ideas through various productions. He then left his country for France, where he joined the E.X.E.R.C.E. training programme at the Centre Chorégraphique National (CCN) of Montpellier (2001–2002). Since then he has pursued a double career as a dancer (with Michelle Murray, Florence Saul, Fiorenza Menini, Luc Maubon, Emmanuelle Vo-Dinh, Gilles Verièpe, Rita Cioffi and Eva Klimackova) and choreographer-performer. performance: Paolo Locci - dancer, circus artist Paolo Locci honed his circus skills at the FLIC circus school in Turin and the Ecole Supérieure des Arts du Cirque in Brussels, specialising in Chinese pole and hand-to-hand acrobatics. Back in Turin, he returned to the FLIC circus school as a teacher (Chinese pole), running workshops for professionals and amateurs. In 2009 he formed his own company, Ibonobi, while continuing to perform with several circuses and street theatre companies. performance: Grégoire Puren - dancer, circus artist The son of an actor, Grégoire Puren started performing for audiences from a very early age, and followed a complementary path by entering the Annie Fratellini circus school followed by Le Samovar theatre school in Paris. His early projects culminated in street theatre and company productions, in which he applied his multidisciplinary training in commedia dell’arte, clowning, acrobatics, Chinese pole and physical theatre, collaborating with Claire Heggen, Amy Atthab, Pina Blankevort, Franck Dinet, and the Malabar, Rasposo and Les Sangles companies. Since then he has continued to explore contemporary forms of artistic expression and the world of choreography by regularly attending workshops and courses with Catherine Dubois, Jordi Vidal and Jackie Taffanel, among others. performance: Pierre-Emmanuel Sorignet - dancer The sociologist, dancer and choreographer Pierre-Emmanuel Sorignet is a research associate in the social sciences laboratory of the Ecole Normale Supérieure and a senior lecturer and researcher at the University of Lausanne. His sociological work focuses primarily on the dance profession, and he has written numerous articles on the subject. A summary of his work was published in 2010 in a book entitled Danser, enquête dans les coulisses d’une vocation, published by La Découverte. He began his performing career in 1993 with Philippe Glass, in a dance piece choreographed by Birgitta Trommler (in Germany), later working with the company Silenda. From 2006 to 2010 he danced with the Centre Chorégraphique National (CCN) of Caen Fattoumi-Lamoureux. He started working with the Christian et François Ben Aïm company in 1999, when he reprised a role in Un homme en marche (1999), and has since collaborated on En plein cœur (2006). In 2013 he choreographed his own creation Un camion dans la tête. interprétation : Gill Viandier- dancer After graduating with a degree in architecture in 1997, Gill Viandier decided to explore the world of contemporary dance, training mainly at the Centre Chorégraphique National (CCN) of Rennes with Catherine Diverrès, and at the CCN of Montpellier with Mathilde Monnier. In 1999 he joined Jackie Taffanel’s company, and since 2003 he has worked with the companies of Michèle Murray, Didier Théron, Hélène Cathala, Emmanuelle Vo-Dinh, Georges Appaix, Christophe Haleb and Philippe Saire. Gill Viandier is also interested in visual art and set design. He made his first theatre set design in 2007, and created public space performance installations with the site-specific project #Number#. As a musician, he has participated in lyrical and improvised projects in Denis Tricot’s L’Orgue de bois. In 2009 he moved to Berlin, where he has worked with Willi Dorner, William Forsythe and Christoph Winkler, along with Hans Tuerlings in the Netherlands. Interprétation : Bruno Ferrier - singer Bruno Ferrier is a percussionist, multi-instrumentalist and singer who initially trained as a drummer and percussionist, studying modern drumming, traditional tabla drumming with the Indian master Rashmi Bhatt, and African percussion in workshops run by Mama Kouyaté. In 1998 he entered the Pro Musica college and took a two-year course in classical singing and in polyphonic singing. Following jos training, Bruno Ferrier has worked across a diverse range of disciplines. From 1991 to 2008 he sang on numerous albums, and toured as a singer with world jazz, rock and Asian music groups: the Boogie Night Orchestra, Speed Caravan, Pososhok. He also contributed astonishing improvised vocals to the album Ping Kong by the group DuOud, accompanied by the oud, a traditional Arabian lute. performance: Mathilde Sternat - cellist After winning First Prize in cello and chamber music at the Conservatoire de Paris (CNSMDP), Mathilde Sternat completed her studies by taking an advanced course in chamber music. She was invited to join the Orchestre Symphonique de Montpellier and the Concerts Pasdeloup in Paris as a solo cellist, and has played in numerous concerts with the Salzburg chamber orchestra. An eclectic musician, she has also performed with popular singers and entertainers (including Bruel, Elodie Frégé, Nolwen Leroy and Voulzy), both in their live shows and on their albums. In 2004 Mathilde Sternat and Anne Gravoin founded the Travelling Quartet, a group of classically trained musicians who revisit the Beatles’ repertoire of hits. music: Jean-Baptiste Sabiani Jean-Baptiste Sabiani studied at the Centre d’Information Musicale (CIM) before following a five-year programme at the American School of Modern Music from 1990 to 1995, specialising in piano. During his career he has written, recorded and arranged compositions in the fields of jazz, theatre and film. Since 2010, he has composed and/or arranged the musical scores for all of the productions written by Christian and François Ben Aïm: Résistance au droit (2010), Valse en trois temps (2010), L’ogresse des archives et son chien (2011), Karma (2013), and La forêt ébouriffée (2013). lights: Laurent Patissier After an eclectic early career in special events and television, followed by 15 years in the lighting industry (working on shows, national and international tours), Laurent Patissier decided to focus on lighting design for the performing arts. He has worked as a lighting designer on theatre productions, dance performances, puppet shows, music concerts and exhibitions, and has collaborated with a roll-call of performing artists and companies. He recently designed the lighting for the contemporary dance pieces Rock ’n’ Roll Suicide by Die Donau (Andréa Sitter) and Il Progetto Indispensabile by La Ventura company (Ana Ventura); the Hip Hop dance duo Phorm (David Colas and Santiago); the play La Permanence des Choses, un Essai sur l’Inquiétude by the Association Perspective Nevski (Sandrine Roche); and the puppet show Avis de Messe Marionettique by the Contre Ciel company (Luc Laporte). Laurent Patissier first worked with the Christian et François Ben Aïm company in 1998 on L’homme rapaillé, and since 2004 has designed the lighting for all of their pieces. costumes : Dulcie Best A graduate of the Welsh College of Music and Drama, Dulcie Best has been a professional costume designer and visual artist since 1990. She has designed the costumes for international events such as the opening ceremony of the Euro 2008 football championship and the 2004 Paralympic Games in Athens. In addition to these major productions, she pursues her creative passion by working in the performing arts. She first met Christian and François Ben Aïm in 2006 at a choreographic event featuring 35 artists, and has since designed and made the costumes for a number of their pieces: Louves (2008), L’ogresse des archives et son chien (2011) and La forêt ébouriffée (2013). presse November 2011 Beyond reality, a contemporary fable. [...] A good dose of fantasy helps us talk about our fears, our ghosts, and the violence of a world in which we construct our own identity. In this show, we get the chance to meet some of the imaginary characters that populated our childhood. But the choreographers cross the line between fantasy and reality by continually shifting and disrupting what we already know. There are diversions, transformations, reimaginings…cut-and-pastes that become crazily absurd to say the least, but that resonate with reality and even the here and now. In the end, we navigate consciously between reality and fantasy, as we are transported into an unusual new imaginary world. A dozen or so performers – dancers, circus artists and musicians – take part in this entertaining mashup, characterised by the same lively, poetic and often physical style of dance that the company has been known for since its debut. Nathalie Yokel 21 november 2011 Created in 2011, Christian and François Ben Aïm’s original piece, called L’Ogresse des archives et son chien, is a fable that brings together a variety of weird and wonderful characters from fairy tales, such as witches and Little Red Riding Hoods. In total, a dozen or so artists appear on stage: circus performers, dancers, musicians and film makers all contribute to a show that transports young and old into a fantasy universe. In a simple yet stunning backdrop (featuring a swaying tree), unusual characters (eight Little Red Riding Hoods that circle around each other on tiny bikes) create an offbeat atmosphere that is brimming with surprises, energy and dreams. Playing with proportions, with the images sometimes reversed, the transformations are at the core of this original, daring piece. The show begins with a short film (around 10 mins) that fires the viewer’s imagination. It is followed by a succession of beautiful images superimposed onto the stage, revealing an empty space that is quickly filled by whirling silhouetted figures. Laurence Bébének CONTACTS CFB 451 53 Rue du Général Leclerc 94270 Le Kremlin-Bicêtre - France + 33 (0)1 43 60 76 11 www.cfbenaim.com Ambre Takei Administrative manager [email protected] Marion Gatier Production and tour manager [email protected] Fanny Debray In charge of communication and public relations [email protected] The company is generously supported by la Direction régionale des affaires culturelles d’Île-de-France – Ministère de la Culture et de la Communication, au titre de l’aide à la compagnie chorégraphique conventionnée, la Région Île-de-France au titre de la Permanence Artistique et Culturelle et de l’Emploi-tremplin, le Conseil Général du Val-de-Marne au titre de l’aide au fonctionnement. The company is currently in residence at the Théâtre de Rungis. Photo coverage: ©Estelle Brugerolles