Performing arts

 

 

Paris is Great !

This FOCUS is a unique opportunity to take in 360° view of the parisian cartography of venues and aesthetics productions, works in progress by artists in residence, meetings with artists and programmers, the young generation of lesser-know artists, new projects by artists already present on international stages, and the dicovery of the venues that make up Greater Paris.

The FOCUS events are organiezd with international programmers in mind. Institut français and ONDA regularly associate their know-how to devise different versions according to a guiding principale : to propose productions, meeting with artists and exchanges between programmers within a tight time frame.

L'Institut français and l'Onda organised this Focus in partnership with:

Le Festival d'Automne à Paris

Le Carreau du Temple

Le Théâtre de la Cité Internationale

Le Théâtre de Vanves

Le Monfort

Le Théâtre de la Commune

Le Centquatre

La Philharmonie de Paris

La Villette

Le Centre Pompidou

Le Théâtre de la Ville

Le Théâtre de Gennevilliers

Le Théâtre Gérard Philipe

Le Centre National de la Danse

L'Atelier de Paris - Carolyn Carlson

Le Théâtre National de la Colline

La Coopérative de Rue et de Cirque

 

For all queries : performingarts@french-focus.com

 

  • /// Thierry Balasse //// CONCERT POUR LE TEMPS PRÉSENT

     
    THIERRY BALASSE: ARTISTIC DIRECTOR, COMPOSER, MUSICIEN, IMPROVISER 
     
    His relationship with sound started when he was listening to Gérard Philippe telling him stories on his father's Révox C36, as well as a few unintentional feedback and echo effects on that machine. Later, he taught himself the drums.  After his training at ENSATT, he worked in the drama field, mixing percussion, synthetizer and sampler. He has kept this distinct taste for the possible links between words, text and music from this experience with drama. His acquaintance with Christian Zanési in 1989 was fundamental, then, a few years later, with Pierre Henry, for whom he was an interpreter. His five-years residency at La muse en circuit – directed by David Jisse – as well as his acquaintance with  Sylvain Kassap, then with Eric Groleau, led him to further develop his distinctive relation to electroacoustic music: he seeked to get back to musique concrète (marked by the sound material, the improvisation and the acceptance that one cannot control everything) by unremittingly developing new instruments – for example, the feedback gloves – by playing on space with multidiffusion, by using a continually unstable instrumentarium, and by continuing to use old analogical tools (Minimoog synthetizer, band echo chamber, spring reflection etc), the computer, words and poetry.
    He is the artistic director of the Compagnie Inouïe and the Ecole des Loisirs' collection “Chut!”, also an artist in residence  at the Scènes du Jura.The performances he has designed for the Compagnie Inouïe: “Le mur du son”, “La machine à explorer les sons”, “Impressions” (texts by Henri Michaux), “Zoom – John Cage au creux de l’oreille”, “La face cachée de la lune” (music by Pink Floyd), “Concerts-lectures sous casque”, “Voyage au centre de l’oreille” and “Jean Jaurès, le monde sensible”. 
    His theatre and dance companions: Bruno Abraham Kremer, Daniel Zerki, Didier Galas, Vincent Dupont, Sabine Novel, Hestia Tristani…

    After having revealed to the public the dark side of Pink Floyd's The Dark Side of the Moon, by recreating as precisely as possible, on stage and in a show dynamics, an in-depth studio work, after having proposed a creative work around texts written by Jean Jaurès, putting forward the emotional weight that contemporary music can have when it is based on innovative electroacoustic techniques, and exploring incredible sounds, the Compagnie Inouïe presents a new creation bringing into play, on stage, a new piece on tape by Pierre Henry, Fanfare et arc en ciel, specially created for our project, and an unreleased piece by Thierry Balasse, Fusion A.A.N, and finally, the instrumental re-creation of a major piece from the 1960s, part of our collective memory, the Messe pour le temps présent. 

    inouie94.free.fr

    /// Jérôme Bel /// GALA

     

    Jérôme Bel lives in Paris and works worldwide. nom donné par l'auteur (1994) is a choreography of objects. Jérôme Bel (1995) is based on the total nudity of the performers. Shirtology (1997) presents an actor wearing many T-shirts. The last performance (1998) quotes a solo by the choreographer Susanne Linke, as well as Hamlet and André Agassi. Xavier Le Roy (2000) was claimed by Jérôme Bel as his own, but was actually choreographed by Xavier Le Roy. The show must go on (2001) brings toghether twenty performers, nineteen pop songs and one DJ. Véronique Doisneau (2004) is a solo on the work of the dancer Véronique Doisneau, from the Paris Opera. Isabel Torres (2005), for the ballet of the Teatro Municipal of Rio de Janeiro, is its Brazilian version. Pichet Klunchun and myself (2005) was created in Bangkok with the Thai traditional dancer Pichet Klunchun. Follows Cédric Andrieux (2009), dancer of Merce Cunningham. 3Abschied (2010) is a collaboration between Anne Teresa De Keersmaeker and Jérôme Bel based on The Song of the Earth by Gustav Malher. Disabled Theater (2012) is a piece with a Zurich-based company, Theater Hora, consisting of professional actors with learning disabilities. Cour d'honneur (2013) stages fourteen spectators of the Cour d'honneur of the Palais des Papes in Avignon.
     
    After Disabled Theater, a piece performed by a troupe of mentally handicapped actors and Cour d’honneur, which put a group of spectators centre-stage, Jérôme Bel’s latest creation uses the same question as its starting point: how can we bring to the realms of onstage representation individuals and bodies that are all too often excluded from such a possibility? How can we make best use of all the various resources of this unique apparatus, the theatre - with its codes, venues, genres and professionals - in order to enlarge the perimeter of what can be shown in it? And how can we (re)shape it into a democratic means that lies within the grasp of all those drawn to dance, singing and the performing arts?
    Driven on by the experience of the “danse et voix” workshops, run with amateurs from various towns in Seine Saint-Denis, Jérôme Bel sought to set down a flexible framework to travel with, and which could give rise to a wide variety of forms. He wanted it to be accessible to amateurs from all different horizons and to provide them with the opportunity to give their all and make the project their own. In doing so, he took that most “commonplace” of theatrical experiences: the gala, a festive, group occasion, spanning end-of-year shows and amateur performances. He then subverted the genre in order to cover different styles, fragments of stories, and build up inventory of a dance “with no particular qualities”, and which would bring out all the possible relationships that are unique to the body and voice. What is it that makes us dance? How do we watch dance that might be fragile, precarious, without indulging in notions of judgement, such as “well done” or “badly done”? The result is a gala that is bitty, patched up, traversed by moments of reflection, like galleries of living portraits. With a mixture of professionals and amateurs, and its “Fail again. Fail better” emphasis, Gala goes from one theatre to the next, like “a mirror taking a stroll by the side of a road”, and brings home to us something about the making of those we are watching as well as the way we watch.  
     
    coproduction : Dance Umbrella (Londres), TheaterWorks Singapore/72-13, KunstenFestivaldesArts (Bruxelles), Tanzquartier Wien, Nanterre-Amandiers Centre Dramatique National, Festival d'Automne à Paris, Theater Chur (Chur) et TAK Theater Liechtenstein (Schaan) - TanzPlan Ost, Fondazione La Biennale di Venezia, Théâtre de la Ville (Paris), HAU Hebbel am Ufer (Berlin), BIT Teatergarasjen (Bergen), La Commune Centre dramatique national d’Aubervilliers, Tanzhaus nrw (Düsseldorf), House on Fire avec le soutien du programme culturel de l'Union Européenne production : R.B. Jérôme Bel (Paris) avec le soutien : du Centre National de la Danse (Pantin) et de la Ménagerie de Verre (Paris) dans le cadre du Studiolab, pour la mise à disposition de leurs espaces de répétitions remerciements : Maguy Marin, Boris Charmatz, Jeanne Balibar ainsi que les partenaires et participants des Ateliers danse et voix

    jeromebel.fr

    /// Nadia Beugré /// LEGACY

     
    Nadia Beugré begins to dance with the Dante Théâtre where she explores traditional dances from Ivory Coast. In 1997 she particpates to the creation of the dance compan Tché Tché with Bétarice Kombé.
    Winning several awards, the company is invited to perform and give master classes in several countries.
    Her first solo, « Un espace vide : Moi » (an empty space : myself) was performed in England, France, Burkina Faso, Tunisia, and the United States. She graduates the « choregraphical tools » formation (Ecole des Sables with Germaine Acogny, Sénégal) and then enters Mathilde Monnier's choregrapher formation Ex.e.r.ce « Dance and Image » in 2009, where she also meets Mark Tompkins and David Wampach, great influences for her work, It is where she actually begins to create her solo "Quartiers Libres".She also works as a dancer for Seydou Boro (Burkina Faso) and Alain Buffard (France).
    Actually she works on her new creation « Legacy » (working title).
     
    In my next creation, which will premiere in March 2015, I’d like to pay tribute to those women who fought and sacrificed themselves all over the world for the rights, the freedom, the dignity of their people, and their own. To build this piece and tackle this complex theme, I’ve got inspired by the demonstration in Bassam in 1949, when my Ivorian fellow women who were beaten up while they were peacefully protesting for the freedom of their husband put in jail for political reasons.
    I also get inspiration from the strong will of the Queen Pokou from Ghana who, according to the legend, sacrificed her son to allow her oppressed subjects to escape as they were forced to exile during the 18th century. My idea is to put on a stage the idea of “women in motion” who are not fighting for their own interests, but to defend one cause, one ideology, one people, etc.
    On stage, women reminds us of those exceptional women who one tried to muzzle, or whose historical fight was hushed up, but who finally managed to get heard against the rest of their worlds. Who are they? How did they bring their stones to the building of a wider freedom of expression, a greater equality between Human Beings, and the respect of human rights? What do they leave behind nowadays and how does their courage can become a source of inspiration into the fights of our time?
    This is not an attempt of rebellion on a feminist basis, but a real tribute given to the women who tried to have their ideas heard, taken seriously and given the importance they deserved, without waiting for a woman to be raped in a school bus without any reaction from the other passengers.
    Executive producer : Latitudes Prod – Lille
    Production director : Maria-Carmela Mini
    Production officer : Pauline Coppée
    Co-productions (in progress) : National Choreographic Center in Roubaix (FR), National Choreographic Center in Montpellier (FR), FUSED – French–US Exchange in Dance, Festival d’Automne à Paris (FR), La Bâtie - festival de Genève (FR), Théâtre Garonne (FR),BIT Teatergarasjen (Bergen, NO) House on Fire is supported by the Culture Program of the European Commission, Festival d’Avignon – Sujets à vif/ SACD (FR), Le Théâtre de Nîmes (FR), Fabrik Postdam (DE), Le Parvis Scène Nationale Tarbes-Pyrénées (FR)
    Studio residency // Ballet du Nord - Olivier Dubois / Centre Chorégraphique National de Roubaix Nord-Pas de Calais
    With the support of DRAC Nord-Pas-de-Calais
    Thanks to the Grand Studio (Bruxelles)
    Thanks to the Tarmac – La scène internationale francophone (Paris)
    Thanks to the figurants for their commitment in the project
    Thanks to the association Pink Bra Bazaar

    latitudescontemporaines.com

    /// Yoann Bourgeois /// HE WHO FALLS

     
    Laurent Goumarre interviews Yoann Bourgeois
    (courtesy Biennale de la Danse – Lyon)
     
    What was the point of departure for this creation?
    With this project, I wanted to go deeper into a certain type of theatre by exaggerating a situation where there is a balance of power. I came up with stage-design of a simple platform manipulated by various mechanisms (balanced, dangled, manipulated by a centrifugal force…). Six people - a kind of mankind in miniature - are on the platform and try to remain standing. They react to the physical constraints without initiating movement themselves, and it’s from this tussle between their mass and this or that force that the situation is born. The multiplicity of physical principles at play results in a multiplicity of situations.
    These situations are special in that they are polysemous. I try to place my theatre at the pinpoint of this occurring.
     
    Your vision of the circus is more in line with with the notion of ‘non-reaction’ rather than manipulation. What does this distinction allow you to say?
    My intention is to refine movement by abiding by an essential principle of the circus: the performer as a vector of the forces that pass through him. He is driven and penetrated by forces that he interprets as he can. If this is inherent to the circus, it is because the circus represents a certain aspect of humanity: that man is not the centre of the universe, and by the same mesure there is no reason he should be the centre of the stage. On my ideal stage (no matter if it exists or not) man co-exists on a horizontal plane beside animals, machines etc. without domineering over them. Repositioning things in this way leaves man all the more overwhelmed. 
     
    How do you go about your work?
    We created our company with the aim of maintaining a permanent working schedule. It’s now four years since we came into being. I have a small team at my side who are, like myself, invested in the long term. We operate to our own schedule, which is possible thanks to our strong ties with the MC2. We favour an experimental, empiric process and invent our methods as we go along - nothing pre-exists. We like to start off with rough sketches, some of which work straight off and become numbers in the show. After four years creating, there’s something taking shape: a constellation of small ideas gravitating towards a central theme - the suspension point. I wanted recently to give this never-ending research a name: ‘tentative approaches to the point of suspension’. I’m very attached to the idea of living the creative dimension to it’s fullest. First and foremost these are extraordinary life adventures. Each different project shapes it’s own character and manner of existence.
     
    Why, since the beginning of your career, the need for a ‘deconstruction of the circus’?
    I want to see what this material that I love so much is made of, how powerful it can prove itself to be. The potential is there, I think, for a new theatrical form and this is the source. My method is more subtraction: I look to get rid of anything that isn’t necessary so as to simplify form for a greater visibility of its’ power. It’s my way of adding stone to the edifice of circus history.
     
    Shouldn’t this history involve the construction of a repertoire, as is the case in danse, theatre and today, performance art?
    Looking around at what’s going on in the circus I do wonder about the challenges it faces today. The circus, it’s true, finds itself in a strange situation: it has a history of being taken care of ‘from outside’.  Paradoxically, and despite the benefit of high visibility, it is proportionally under-funded. The worry would be the threat of standardisation. This is why I’m in talks with the academies about their course-structure so that the emergence of a repertoire can take place. For this to happen, you have to know the writing, and invent ways of writing that are fit for purpose.

    Production : Cie Yoann Bourgeois Coproduction : MC2: Grenoble - Biennale de la danse de Lyon - Théâtre de la Ville, Paris - Maison de la Culture de Bourges - L’hippodrome, Scène Nationale de Douai - Le Manège de Reims, Scène Nationale - Le Parvis, Scène Nationale de Tarbes Pyrénées - Théâtre du Vellein - La brèche, Pôle national des arts du cirque de Basse-Normandie / Cherbourg-Octeville. Résidence de création : MC2: Grenoble et la Brèche, Pôle national des arts du cirque de Basse-Normandie / Cherbourg-Octeville. Maîtrise d’œuvre et construction : Ateliers de la Maison de la Culture de Bourges, Cenic Constructions, C3 Sud Est. Avec le soutien : De la SPEDIDAM, de l’ADAMI et de PETZL. Aide à la création : La DGCA et du Conseil Général de l’Isère. Aide à la Compagnie : La DRAC Rhône-Alpes et la Région Rhône-Alpes. La Compagnie Yoann Bourgeois est conventionnée par la ville de Grenoble et bénéficie du soutien de la Fondation BNP Paribas pour le développement de ses projets.

    cieyoannbourgeois.fr

     

    /// Jonathan Châtel /// ANDREAS

     
    Trained as an actor, graduated in philosophy and theater studies, Jonathan Châtel played, wrote and directed for the stage before living in Oslo for three years. When he came back he founded the ELK theater company with Sandrine Le Pors. In the same momentum he translated, adapted and directed Petit Eyolf by Henrik Ibsen in 2012 (Audience Award at the festival Impatiences). Jonathan Châtel is also a comics scriptwriter (Kirkenes, Les Enfants rouges), co-director of a documentary (Les Réfugiés de la nuit polaire) and a theater studies lecturer at UCL University in Belgium. Andreas is the ELK theater company's the second creation. The play was created at the Festival of Avignon in July 2015.

    Exiled in a foreign land where he's cut from any social contact, a Man is waiting without knowing. Death ? Coming back to life ? The love he feels for  « A Lady » he randomly meets and nicknames Eve will momentarily postpone his temptation to end his life. Together they will try to get away from their moral and social misery, and break free from their background. But is it possible to start a new life?  What is the path to follow? In his adaptation and translation of the first part of August Strindberg's Chemin de Damas, where he primarily sees a reinvention impulse, Jonathan Châtel emphasizes the mirror effects between the characters surrounding the Man. Each of them comes back from his past under a new form and creates the same unease than this dream where different people show a similar face. This game allows to reveal the mystery of the Man's forgotten name (Andreas) and questions his fight against his personal demons and his encounter with the Absolute.

    Coproduction Compagnie ELK, La Commune / centre dramatique national d’Aubervilliers, Tandem Douai Arras / Scène Nationale, Le Festival d’Avignon 2015, Théâtre Olympia / Centre Dramatique Régional de Tours, Le Festival d’Automne à Paris, Le Phénix / Scène Nationale de Valenciennes avec le soutien du Studio Théâtre de Vitry
    Avec l’aide à la production de la DRAC Nord-Pas-de-Calais / Ministère de la Culture et de la Communication, de la Région Nord-Pas-de-Calais et du Conseil Général du Pas de Calais.
    La scénographie sera construite par les Ateliers de construction du Théâtre du Nord, Lille
    Jonathan Châtel est artiste associé à La Commune / centre dramatique national d’Aubervilliers et à Tandem Douai Arras / scène nationale
     

    epoc-productions.net

    /// Olivier Coulon-Jablonka /// PIÈCE D'ACTUALITÉ N°3. 81 AVENUE VICTOR HUGO

     

    L’Avenue Victor Hugo is one of the most prestigious Parisian avenues. In Aubervilliers, l’Avenue Victor Hugo is full of wholesale warehouses, Asian textile import-export shops, a few grocery stores, a typical restaurant from Aveyron, a café-tabac-PMU and at 81, facing a Chinese shopping center under construction, a former job center. 

    This is where live since August 2014, the "80 of Aubervilliers", a group of immigrants mainly from Côte d'Ivoire, North Africa and Bangladesh. Expelled from "le passage de l’Avenir" and "la rue du Colonel-Fabien" or driven out by the fire in the "Rue des Postes", thus ending up homeless, the "80 of Aubervilliers" decided, after four months in the street, to requisition the building, waiting to see their situation improve.

    On stage, in Le Théâtre de la Commune, their story unfolds, leading us from the suburbs of Abidjan, Ouagadougou or Dhaka to this present, the struggle of undocumented homeless migrants in Aubervilliers. Thus, the performance draws lives swinging between exile and migration, and stretching on continents, sometimes over many years.

    "Exile is the nakedness of the law," wrote Victor Hugo more than a century ago. "Vigilantes have their laws," replies Mamadou D., exiled Ivorian in 2015. The question of hospitality begins with the absolute right to home that exceeds the law, while there is a serie of laws and mechanisms in France and Europe to control and contain the influx of migrants.

    What place do we give to foreigners? Under what conditions? And for what conditions of life and work?

    Eight people from the group, invited to go on stage, ask us those questions. Each giving us to hear and see a fragment of his/her singular destiny, where solidarity rubs violence, where cunning meets injustice, where the need to survive faces the hardships encountered.

    lacommune-aubervilliers.fr

    /// Antoine Defoort /// A LOW LEVEL OF ORIGINALITY

     
    A low level of originality is a lecture in progress on the thorny issue of intellectual property in the field of artistic creation. I will be developed through serious efforts of rigor and documentation, tempered by a few digressions alluding more to a Sunday afternoon with friends than low course.
    The ide ais to draw up and inventoriy of the legislation and history of copyright, and joyfully brainstorm about the issue and societal implications hand.

    production : l’Amicale de production / coproduction : Le Vivat, Scène conventionnée danse et théâtre d’Armentières ; le Centre national de la danse (CND-Paris) ; Buda Kunstencentrum (Kortrijk) ; Bit Teatergarasjen (Bergen) / Antoine Defoort est artiste associé au Vivat, Scène conventionnée danse et théâtre d’Armentières, au Phénix, Scène nationale de Valenciennes, au Beursschouwburg (Bruxelles) et au réseau européen APAP / Performing Europe (DGEAC - programme Culture) / l’Amicale de production bénéficie du soutien ministère de la Culture et de la Communication (conventionnement DRAC Nord-Pas-de-Calais), du conseil régional du Nord-Pas-de-Calais et de la Ville de Lille. coproduction : Le CENTQUATRE-Paris

    amicaledeproduction.com

    /// Julie Deliquet /// Catherine & Christian

    Having completed her training at the Conservatoire de Montpellier and also the Studio Theatre School in Asnières, Julie Deliquet then went on to do two years at the International School Jacques Lecoq. She founded the Collective In Vitro in 2009 and presented Derniers Remords avant l'oubli by Jean-Luc Lagarce (the 1st-part of the trilogy Des années 70 à nos jours) as part of a Young Stage Director's contest at the Théâtre 13, for which she received the audience's prize. In 2011, she staged A Respectable wedding by Brecht (the 2nd-part of the trilogy), at the Théâtre de Vanves, which participated in the Impatience Festival in 2013 at 104 (Paris). In 2013, she produced Nous sommes seuls maintenant, a collective creation (the 3rd-part of the trilogy). The trilogy will be presented in autumn 2014 at the Théâtre de la Ville – Paris and at the TGP – CDN in Saint-Denis as part of Paris Autumn Festival. The collective has been with TGP – CDN in Saint-Denis since January 2014.
     
    Children and step-children are a day of funeral. When they are finally all together, like back to life, they cross and the sound of discussions took a more normal turn. Eating such becomes the most obvious thing. But is it really a "normal" time?
    Our story happens a day of mourning in a provincial restaurant. Several siblings will turn all gather around the death of Catherine then around that of Christian. How will their children do on the day of their funerals? From La Gueule Ouverte by Maurice Pialat, going through "Pater" by Alain Cavalier, the surealism, mythology and heritage of each actor from In Vitro, we will write a modern myth, a collective Oedipus we want both cathartic, funny and universal.
    Production Collectif In Vitro Coproduction Théâtre Gérard Philipe - centre dramatique national de Saint-Denis, Festival d'Automne à Paris, Ferme du Buisson-Scène nationale de Marne la Vallée, Théâtre Romain Rolland de Villejuif, Groupe des 20 théâtres en Île-de-France. Avec l'aide à la production de la DRAC Île-de-France. (production en cours) Le collectif In Vitro est soutenu par le Conseil Général de la Seine-Saint-Denis (93) et est associé au Théâtre Gérard Philipe - centre dramatique national de Saint-Denis.
     

     

    /// Laetitia Dosch /// UN ALBUM

    Laetitia Dosch is a swiss-french actress, dancer , writer , and stage director.
    As a dancer she has worked with Marco Berrettini, Maria La Ribot, Massimo Furlan in several plays.
    She also played  Shakespeare with Jean Yves Ruf in Measure for Measure in 2008 and with Melanie Le Ray in 2014 in The Taming of the shrew.
    As a movie actress has mainly played the main part in La Bataille de Solferino, and then worked with Christophe Honoré , portuguese director Gabriel Abrantes, belgian director Guillaume Senez, Maiwenn and Catherine Corsini .
    She has been  doing  her own stage work since 2010, mainly solos.  The first one, Laetitia fait péter… was  a piece about an entertainer having problems to entertain (in Centre Pompidou in April), and then Klein (Ménagerie de Verre, 2014) was about  Botho Strauss’s text Big and Small.
    She also made a magic dog performance for the Fondation Cartier pour l’ Art Contemporain, and different works in actOral, Marseille.
    She writes on actors for the Cahiers du Cinéma.

     

     
    The main aim of this work is to question experience.
    And furthermore memory.
    What if we were built by the people we meet, including family and close friends, teachers, but also complete strangers we happen to cross in the streets?
    What do we remember of them and why? Or in other words, what do we learn from them?
    If we could go into someone’s brain, and tear out all the memories and put them all together on stage, would it define the person having these memories?
    Would it define something of humanity?
    Un Album is about people I’ve met, am currently meeting and will meet during this work.
    I ”imitate” them, even if it’s not the right word. I’m more precisely trying to understand them by going inside their bodies, trying to feel and point what is embracing everyone in their behavior.
    Un Album is funny, because I found out that people, even in hard times, have always something strange and not accurate in their behavior that is laughable.
    40 characters will be ready by June. There’s a woman facing the news of her own illness, children playing cruel games in a park, a man desperately trying to make a child solve a mathematic problem, a child trying to solve it, a scary casting director, a melancholic waiter, a baby, a shrink… All of them are heroes.
    I travel from one body to another, trying to find the link between them, as if they were the same person taking different shapes.
    So I guess this work is also talking about being an actress, but for the moment I don’t understand exactly what to do with this. I just know I will never be on stage as myself. Or if I will be, I won’t speak. My voice will always be someone else’s. 

    Joint Production Viande Hachée du Caire, Viande Hachée des Grisons, Selon l'Heure
    Coproduction Le Phénix Scène Nationale de Valenciennes, Théatre Arsenic, Actoral 2015, Centre Culturel Suisse à Paris, La Comédie de Reims, Loterie Romande, Ville de Lausanne, Fondation Nestlé, Fondation Stifftung.

     

     

    /// Mohamed El Khatib /// A PERFECT ENDING

    Mohamed El Khatib wanted to write a text based on interviews carried out with his mother. The 20th of February, her death brings it all to an end. On her hospital bed, her mother enquires: “No operation or anything?” “No, nothing. There’s nothing more that can do.”

    The inner crumbling of the orphan son is embodied in a discontinuous narrative sustained by a composite form: newspaper extracts, emails that were sent and received, telephone messages, text messages, fragments of dialogue with the father, transcripts of recordings, videos… The intimate material encompasses fiction and documentary. Those snapshots of life delicately conjure up the notions of family, country, mother tongue, memory and loss. Through this moving cartography that is also pungent and often funny, Mohamed El Khatib, alone on the stage, carries this autobiographical narrative. 

    Finir en beauté is a Zirlib production in co-production with the Tandem Douai-Arras / Arras Theatre, the Theatre de Vanves, the National Drama Centre Orléans / Loiret / Centre, the National Scene of Sète and the Bassin de Thau.

    With support for the creation of Actoral Festival (Marseille), support for the production of Beaumarchais-SACD association and support Porosus Endowment Fund.

    This text has assisted in the creation of CnT it received assistance in writing and editing assistance for the Beaumarchais-SACD Association, a grant from the Languedoc-Roussillon Region.

    It is published by Editions Les Solitaires Intempestifs in France (and L’L, Edition for Belgium) Zirlib is a collective agreement with the Ministry of Culture - Drac Centre-Loire Valley, supported by the Centre Region and supported by the city of Orléans.

    Mohamed El Khatib, associate artist at CDN Orléans / Loiret / Centre, is accompanied by L’L - Place of research and support for young designers (Brussels).

     

    zirlib.fr

    /// Radhouane El Meddeb /// HEROES

     

    Born and raised in Tunis, where he studied at the Higher Institute of Dramatic Art, Radhouane El Meddeb moved to France in 1996 with the desire to encounter other artistic disciplines. Because the theater is no longer enough for him, he creates in 2005 his first solo pour en finir avec MOI, as an intimate introspection, a vital experience. A revelation that makes him join the dance and become a choreographer and performer. Associate artist at CENTQUATRE-PARIS since 2011, Radhouane El Meddeb seeks, shares and experiments without obligation to immediate effectiveness. He is on the steering committee of le Cinq and thus transmits his love of the body and freedom to amateurs who thought they were far from the dance or theater. He presents A l’Etroit in March 2011 with the author Philippe Adam. In 2013, he dances Sous leurs pieds, le paradis, a solo he shares the choreographic writing with Thomas Lebrun. Later on, he brings his choreographer look to Matias Pilet and Alexandre Fournier, two young performers from the circus. The result, entitled Nos limites, is a hybrid form that tells the life instincts. In 2014, he creates Au temps où les arabes dansaient…, his new creation, which is a show-manifesto. First conceived as an ode to the golden age of Arab cinema, the choreography for four performers is redesigned following the revolutionary events that occurred in Tunisia and Egypt.

    Production: La compagnie de SOI & le CENTQUATRE-PARIS / co-production: Le Centre des monuments nationaux / with support from La Briqueterie, Centre de développement chorégraphique du Val de Marne / La compagnie de SOI is subsidized by DRAC Île-de-France / Ministry of Culture and Communication under the Companies Help. Radhouane El Meddeb is associate artist at CENTQUATRE-PARIS

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    /// Collectif Galapiat, Moïse Bernier /// PARASITES

    After seven years of circus schools and upon graduation from the CNAC (French National Center of Circus Arts) in 2007, Moïse is one of the founding artists of the Compagnie Galapiat. He takes part in thecollective creation Risque Zéro (2008) that tours under a Big Top until the end of 2014.
At the same time, he participates in the organisation of the festivalTant qu’il y aura des mouettes in Langueux (Brittany, France), homeport of Galapiat Cirque Association. He contributes actively to its development through the collective debate and orientations taken by Galapiat’s organisation in Brittany, in France and overseas.
In parallel, he collaborates in various other projects (Le vol du rempart – Compagnie Mauvais Coton, Compagnie des Nouveaux Nez, Compagnie Agence de Voyages Imaginaires, etc...)
In 2014, he meets the director Sébastien Bournac (Compagnie Tabula Rasa) during the creation of the show Ouvertures, for the unveiling of Scène Nationale d’Albi theatre (France).
In 2015, Moïse Bernier decides to carry out his own project with all he has been storing in mind for the last 10 years. His character, a clown who asks existential questions, always in search of answers. Words piled up at the back of his mind or on pieces of paper. And heaps of authors... He also investigates various ways of using the Chinese Pole in different declinations (small and big poles, angled pole, weeble pole, flexible pole...).
The artistic encounter with the two associate musicians, Nicolas Lopez (violonist and composer, among other things) and Thomas Garnier (flutist, guitarist, drummer and composer, among other things) has something magical and very strong about it. The encounter with Sébastien Bournac who gives an artistic insight is just as strong. Parasites emerges through theatre, clown and circus, and also a unique acoustic dimension proper to the musicians’ universe. Three characters try to liberate themselves from the too often unanswered existential questions that cause the numerous and incessant parasitising of our daily lives.

    Empty sky and gaping desire. An emergency occurs.
Three collapsing characters are trying to escape from the incessant commotion of the world. While falling they try to rise beyond their mediocre lives. Yet, from anger to relief, laughter to tears, nothing will be easier than being together, surpassing their differences. How to invent a collective harmony in their playful parasitising? How to liberate them from their original restlessness? How to give them wings?
However, let us be cautious. The roles assigned to each of them by all appearances might not be those they should be nor those we think they are...
Parasites is a declaration of love to life and its deviations. And this existential, essential parable is not to be taken too lightly...


    Coproductions : Le Prato, Pôle National des Arts du Cirque - Lille (59) / Le festival des Sept Collines – Association Les Films de l’Imparfait - St Etienne (42) / Itinéraires Bis (Association de développement culturel et artistique des Côtes d’Armor) - Saint Brieuc (22) / Le Fourneau - Centre National des arts de la rue - Brest (29) / Théâtre le Champ du Roy - Guingamp (22).
    Accueil en résidence : Le Firmament, théâtre de Firminy (42) en partenariat avec le Festival les 7 collines- Association Les Films de l'Imparfait - St Etienne (42) / le Théâtre le Champ du Roy - Guingamp (22) / Le Fourneau – Centre National des Arts de la Rue - Brest (29) / Le Prato, Pôle National des Arts du Cirque - Lille (59).
Ce projet reçoit le soutien de la DRAC Bretagne.
     

     

    /// Elsa Guérin & Martin Palisse /// SLOW FUTURE

    From 2000, Elsa Guérin and Martin Palisse have developed together an unusual connection with juggling, with minimalist and sensitive undertones, and devote themselves to creating artistic objects that examine its theatrical and choreographic potential, questioning both script and dramaturgy for contemporary circus.
    They have created several shows, performed in France and abroad (South Korea, Japan, Peru, Argentina, Deutchland, Slovaquia, Slovenia, Colombia, Brasil), and have setted several times the couple and various aspects of the human drama, sometimes with comical overtones and sometimes with more tragical tones (Dans quel sens ?, Skratch, Une nuit sur Terre, BODYnoBODY, SomeBODY, BLIND / Action, Still life).
    Several of their creations have been the fruit of a collaboration with different artists from circus, dance, theater or music (Philippe/Phia Ménard, Johanny Bert, Hélène Ninérola, Hervé Diasnas, Romuald Collinet…), in a volition of opening, sharing and renewed stakes.
    For creation of POST, Elsa Guérin and Martin Palisse are authors, performers, directors, designers for scenery, signing too light and costumes, wanting to create a totally personal and uncompromising universe.
    Beyond their shows, they develop, actions to raise public awareness on the issues of creation in contemporary circus (works in progress, talk with audience…) and transmission of their art (workshops and masterclasses juggling - body - object - space…).
     
    Carrying on with a view of the choreographic, dramatical and poetic potential of juggling and physical acting, Slow futur involves two human beings and a way of being as one and of being together facing the inexorable advance of time.
    On a moving walkway of 8m, the couple chooses unity in front of the powerful movement which transports them, to escape to the ultimate and inevitable lonelyness, carried by an original music of the Zombie Zombie band, playful, progressive and mesmerizing.
    Metaphor of the passage of time, the moving walkway, at the same time scenery and apparatus of circus, able to transport motionless bodies, to produce an immobility in motion, becomes too the subject of a curious vertical (juggling) and horizontal (walking) choreography.
    Constrained by reduced space, both juggle, walk and move together, shaping postures and movements, between union and dissension, deconstruction of juggled motion, games of synchronization, side by side bodies, looks in the same direction, repetitions and declensions of patterns… questioning the closeness between circus and physical theater, and, by the play between mechanical motion and dramatic dimension, questioning the human condition in its mechanical way and at the same time in its living way.
    Slow futur stages the relation of tension between a metal machine and two people moving forward stubbornly together with a certain risk, transcending the staging of the couple, as smaller denominator of the concept of group, to reach a more universal subject on the human drama.
    Between hypnotic slow motions and powerful accelerations, Slow futur unwinds a progressive energetic increase, immersing actors and spectators in a physical experience of sound and light.
     
    Production Cirque Bang Bang I Production déléguée Le Sirque Pôle National des Arts du Cirque de Nexon en Limousin I Coproduction Festival Mettre en scène - Théâtre National de Bretagne, Rennes ; Le Carré Magique de Lannion-Trégor Pôle national des arts du cirque en Bretagne ; La Verrerie d’Alès Pôle national cirque Languedoc-Roussillon ; Le Sirque Pôle national des arts du cirque de Nexon en Limousin; Sémaphore scène conventionnée à Cébazat ; La Maison des jonglages scène conventionnée jonglage(s) à La Courneuve ; Théâtre de Cusset scène conventionnée cirque ; La Cité du cirque Pôle régional des arts du cirque au Mans  I Soutiens Ministère de la Culture et de la Communication, Conseil Régional d'Auvergne, Conseil général du Puy de Dôme et Ville de Cébazat.  Avec le soutien du Fonds SACD Musique de Scène. 
     

    /// Joris Lacoste /// SUITE N°2

     

    Joris Lacoste was born in 1973. He lives and works in Paris. He has been writing for the theater and the radio since 1996, and has been creating and performing his own shows since 2003. He created 9 lyriques pour actrice et caisse claire in 2005 with Stéphanie Béghain, then Purgatoire in 2007 at the Théâtre National de la Colline – an institution for which he was also associate author. From 2007 to 2009, he was co-director of the Laboratoires d’Aubervilliers (Aubervilliers, France). Borrowing from literature, the theater, visual arts, music, and sound poetry, his work is structured by a deep commitment to research. Lacoste thus initiated two group projects: W (2003-, in collaboration with Jeanne Revel), which aims at studying represented action and notably produces the W Games; and the Encyclopédie de la parole (2007-), a transversal exploration of oral forms resulting in the 2009 show Parlement, then from 2013 in the series Suites chorales. Since 2004, Lacoste has also been interested in the possible artistic uses of hypnosis, through an activity he refers to as “hypnography.” Within that framework, he produced several pieces, including Le vrai spectacle – presented at the Paris Autumn Festival in 2011, and at the Centre Pompidou in 2012 – and the exhibition 12 rêves préparés at the gb agency gallery in Paris.

    The second Suite of Encyclopédie de la parole orchestrates speeches that all have, each in their own manner, some kind of effect upon the world. Words that are action. Words that do some good and words that scare the world. Words that fight, words that suffer, words that hope. Words that rejoice, rebel, reassure you. Words that dance and words that make love. Words that decide, threaten, condemn and kill. Words that bring people together and words that come between them. Words that say thank you. Words that ask for mercy. Words kept, given, betrayed. Words in crisis, words in debt, words in panic, words on strike. Words that crumble and rise from the dust. Words that struggle. Naked words and words dressed in Versace. Words that put their feet in their mouths. Words that stop talking when there’s nothing more to say. Words that play with fire. Words that fly away and disappear up above the ocean. All of these words are real. Each and every one of them has been pronounced some day, somewhere in the world, then collected by the Encyclopédie de la parole. They meet for the first time in this piece, carried by a quintet of outstanding performers, composed by Joris Lacoste and harmonized by Pierre-Yves Macé.

     

    Production : Échelle 1:1 (compagnie conventionnée par le ministère de la Culture et de la Communication / DRAC Ile-de-France).
    Coproduction : T2G Théâtre de Gennevilliers / Festival d’Automne à Paris, Asian Culture Complex – Asian Arts Theater Gwangju, Kunstenfestivaldesarts (Bruxelles), Théâtre Vidy-Lausanne, Steirischer Herbst Festival, Théâtre National Bordeaux-Aquitaine, Théâtre Universitaire de Nantes, Parc de la Villette-résidence d’artistes (Paris), Théâtre Agora-Seinendan et l’Institut Français du Japon. Avec le soutien de L’Usine et de l’Institut Français. Suite n°2 est co-produite par NXTSTP avec le soutien du Programme Culture de l’Union Européenne (en cours).
     
     

    /// Emily Loizeau /// RUN, RUN, RUN Hommage à Lou Reed

     

    Franco-British singer and composer, Emiliy Loizeau releases her first album under the independent label Fargo in 2006. In 2008, she sings Pays Sauvage, album in which Herman Düne, Moriarty, Thomas Fersen, Nina Morato, or Olivia Ruiz collaborated. She wins the Constantin Price on the same year and sings at the Olympia in Paris. In spring 2010, she participates with two songs (Black bird and Quelle étrange nature) to Aristophanes’ play, presented at the Comédie-Française, translated and directed by Alfredo Arias. Her latest disc, Mothers & Tygers, eagerly awaited, came out in 2012.

    Emily Loizeau now offers an original concert in tribute to the artist. She takes head on the legendary Lou Reed and shares with the audience her love for this music. Her inspiration: Traverser le feu. It consists of the integrality of his songs, published by Editions du Seuil, a few months before his death, thirty albums of the Velvet Underground, as well as recent texts not registered yet. Accompanied by the actress Julie-Anne Roth and the guitarist Csaba Palotai, she plays the harmonium and the piano, and recreates on stage the Velvet universe. Video projections remind us of Andy Warhol's work led at the Factory. Producer of the Velvet at the beginning of the adventure, he shoots movies of the group, and projects it during their concerts. These underground experiences give birth to the show Exploding Plastic Inevitable, in which Warhol, their protector, combines videos, music and artistic performances. The group of artists has gradually opened and their influence has grown steadily since. Emily Loizeau uses her sweet and powerful voice to revive their soul and faith Lou Reed.

     

    104.fr

     

    /// Phia Ménard, Compagnie Non Nova /// BELLE D'HIER

    Founded in 1998 by Phia Ménard with the desire to approach juggling from a different angle, through the scenic and dramaturgical structure of each piece. « Non nova, sed nove » (Not new things, but in a new way) is the company’s founding precept.
    The many multidisciplinary projects of the company have brought together artists, technicians, thinkers from various horizons with diverse experiences. It is not a collective but a professional team, with Phia Ménard in charge of the artistic direction.
    2008 saw the beginning of the project « I.C.E. » standing for « Injonglabilité Complémentaire des Eléments » (Complementary Unjugglability of the Elements) with the creation of « P.P.P. » (Position Parallèle au Plancher / Perillous Parallel Position) at Les Subsistances in Lyon. This was the company’s first exploration using the element « Ice » and based on the theme of identity.
    The installation-performance piece « L’après-midi d’un foehn Version 1 » (Afternoon of a Foehn Version 1) was created in November 2008 at the Natural History Museum in Nantes as part of their Science Festival and is also part of the project « I.C.E. ».
    In 2010, the company also created the performance piece « Black Monodie » (Black Monody) commissioned by the SACD (« Societé des Auteurs et Compositeurs Dramatiques » - Society of Dramatic Authors and Composers) and Avignon Festival, with the artist Anne-James Chaton.
    2011, second working cycle about the process « I.C.E. » with the « Plays of Wind », « L’après-midi d’un foehn » (Afternoon of a foehn) and « VORTEX » were created at the Comédie de Caen, centre dramatique national de normandie (National arts center for theater of Normandy). Invitation of company to the Festival Montpellier Danse.
    2013, tours of the « Plays of Wind » and « P.P.P. ». The BNP Paribas Foundation becomes a sponsor of the Company.
    2014, the Company Non Nova / Phia Ménard becomes an artist associated with the « Espace Malraux Scène nationale de Chambéry et de la Savoie » for four years.
    2015, beginning of the creation of the « Plays of the Water and the Vapor ».
     
    On the stage, a ball, frozen. Thirty dresses, frozen in human form. Princesses, brides, saints, icons, sacred images, all looking in the same direction, as if watching out for the imminent arrival of the suitor, the rescuer.
    As time ticks by and the heat warms the stage, a strange piece of choreography unfolds before our eyes ; a painfully slow dance of decomposition as the frozen dresses become floorcloths saturated with water, losing all their grace and leaving behind an image of chaos. They waited for the one who never came ! 
    Into this disordered space made of seeping water and soaking rags, come five women, five « furies ». They have come to finish off the myth.
    The presence of these human-shaped dresses is the driving force for this imaginative world and also for the identification of our own disillusionment with the quest for love, the passing of time and with humanity itself. 
    Our bodies are right there, in the shape of these dresses. We watch as the beautiful figures transform into a pile of material. These are our bodies, our ideals, our cells which wear down over time. The certitude of eternity and all our childhood beliefs come crashing down as the dresses collapse.
    It is only when all the dresses have crumpled into rags that the humans appear to destroy the myth.
    The action onstage explodes into life. Violently « beating » the laundry is a way of eliminating the myth. The dresses are washed, scrubbed, wrung.
    The bodies and the clothes are caught up in an intense, physical battle, fighting to soak up all the water, the symbol of our tears. I want the « furies » to dry the tears away.
    Make the water vanish, this is the Utopia I am inviting you to share with us, by following the steps of  « Yesterday’s Beauty » (« Belle d’Hier »).
    « The Furies Theory » … to be continued.                      Phia Ménard - Paris, 15th February 2012
     
    Production exécutive : Compagnie Non Nova.
    Résidence et coproduction : Espace Malraux, Scène Nationale de Chambéry et de la Savoie, la Brèche, Pôle National des Arts du Cirque de Basse Normandie / Cherbourg-Octeville, le Carré, Scène nationale de Château-Gontier.
    Coproduction : Festival Montpellier Danse 2015, Théâtre de la Ville – Paris, le lieu unique, scène nationale de Nantes, Le Grand T, scène conventionnée de Loire-Atlantique, Le Quai – Forum des Arts Vivants – Angers, Théâtre d’Orléans, scène nationale, La Criée - Théâtre national de Marseille, Théâtre Les Treize Arches, scène conventionnée de Brive-la-Gaillarde, La Verrerie, Pôle National des Arts du Cirque Languedoc Roussillon – Alès, Le Théâtre, scène nationale de Saint-Nazaire – Maillon, Théâtre de Strasbourg – Scène européenne, TJP Centre Dramatique National d’Alsace-Strasbourg, le Grand R, scène nationale de La Roche-sur-Yon.
    Avec le soutien du Théâtre de Cornouaille, scène nationale de Quimper, Scène Nationale de Sète et du Bassin de Thau, Le Cratère, scène nationale d’Alès, Les Quinconces-L’espal théâtres, scène conventionnée danse Le Mans.
    Avec le soutien technologique de JF Cesbron, fournisseur de solutions globales de services dans les domaines frigorifiques, thermiques et énergétiques.
    La Compagnie Non Nova est conventionnée par le Ministère de la Culture et de la Communication – DRAC des Pays de la Loire, le Conseil Régional des Pays de la Loire, le Conseil Général de Loire-Atlantique et la Ville de Nantes. Elle reçoit le soutien de la Fondation BNP Paribas.
    En 2014, la Compagnie Non Nova / Phia Ménard est devenue artiste associée à l’Espace Malraux Scène Nationale de Chambéry et de la Savoie pour quatre années.
     

     

    /// Franck Micheletti, compagnie Kubilai Khan /// BIEN SÛR LES CHOSES TOURNENT MAL

    Frank Micheletti trained in theatre work with Jean-Pierre Raffaelli and has worked with Hubert Colas and Isabelle Pousseur, then decided to move towards dance work.
Before establishing the Kubilai Khan Investigations company, Frank Micheletti accompanied Joseph NADJ during several creations as a dancer (Le Canard pékinois, Les Echelles d’Orphée, l’Anatomie d’un fauve, Woyzek, Commedia Tiempo, Les Commentaires d’Habacuc) and then as the production assistant for Le Cri du caméléon produced for the Centre National des Arts du Cirque.
    In 2007 Frank Micheletti was appointed Artiste associé for three years at La Comédie, scène nationale de Clermont-Ferrand as well as at L’Arsenal, in Metz for two years. 2008, the company is part of the pro- ject «Tremblay, territoire(s) de la danse», in partnership with the Theatre Louis Aragon in Tremblay en France. From 1999 to 2001, he was Artiste associé to Châteauvallon, and continues to work closely with this place. 2009, he was welcomed at Villa Kyoto Kujoyama in research and creation residence. During the 2011-2012 season, the company Kublai Khan was in residence at the Theatre Paul Eluard in Bezons, then in Bandung in 2014.
     
    Groups, institutions, artefacts, interactions, habits, rules, trends, structures, systems, etc. are all borne away in the processes of transformations which are sometimes debatable. Should one be wary of these or do these open up other possible forms or horizons? Is tomorrow already here somewhere? If so, where is it? Where are we? Where are we with all this? What fictions are we living with? Tomorrow is already today and as it is we are not sure of our present. So in what terms are we going to speak of the future that awaits us? Perhaps in assembling a few things: stories, sensitive ideas, new ways of organising materials, new images, joy, anger, memory, displacements-moving that provoke a collective game yet one which does not require rules to be respected.
    What relation(s) exist between a prospective testing that predicts for 2090 the collapse of western civi- lization and the world as we know it today?
    Nothing. If it were not just to have fun in being open to surprises, allowing oneself to be affected by the dense overlapping of the multiple worlds and different temporalities which surround us. Allowing oneself to plunge into the different materialities of time, their uniting, disrupting the linear temporality, disturbing the flow of time.
    PRODUCTION : Kubilai Khan investigations
    COPRODUCTIONS : Théâtre des Salins,scène nationale de Martigues
 CDC Atelier de Paris-Carolyn Carlson
Centre chorégraphique national de Tours / direction Thomas Lebrun (dans le cadre de l’accueil studio) Le Pôle arts de la scène - Friche belle de Mai
    ACCUEIL EN RESIDENCE : CNCDC Châteauvallon
Centre Chorégraphique National de Tours CDM Martigues
CDC Atelier de Paris-Carolyn Carlson
     

    kubilai-khan-investigations.com

    /// NUIT BLANCHE /// Saturday, October 3rd

     
    Since 2002, the City of Paris organizes Nuit Blanche, the first Saturday of October. These offer a great event, popular and festive, focused on the installation of works of art in public space or in iconic Parisian buildings. Each year, this free event for all hosts several million visitors. It is also available at the metropolitan level.
     
    It is the night of 3 to October 4 will be held the 2015 edition of Nuit Blanche in Paris. This cultural event that every year attracts a larger audience offers a journey through the Bassin de la Villette, the Banks of the Seine, Belleville, Ménilmontant and Marais. This year, the suburb is also invested with events taking place in Seine-Saint-Denis. Everyone will have the opportunity this year to discover new perspectives on the city, to cross and meet in public space contemporary works but also performances and lectures. At the heart of the public space as in the most secret places, remarkable works created by artists from around the world await your visit.

    /// Olivier Saillard /// MODELS NEVER TALK

    Olivier Saillard is a French writer, fashion curator and performance-maker. Well known as a fashion historian and director of the Palais Galliera fashion museum in Paris, he has been making fashion-oriented performance since 2005. Saillard has presented works at the Palais de Tokyo and the Festival d’Automne in Paris, including his collaborations with Tilda Swinton, The Impossible Wardrobe (2012), and The Eternity Dress (2013). He is also the author of Histoire idéale de la mode contemporaine.

    As Olivier Saillard observes in his title, in this world, models never talk. But as you may have surmised by now, they certainly talk here, and they sure have a few things to say. Over the hour-long piece, we become privy to secrets and behind-the-scenes anecdotes from their former lives in the high fashion industry – names such as Yves Saint Laurent, Jean Paul Gaultier, Comme des Garçons and Thierry Mugler are casually dropped, eliciting chuckles and sighs from the fashion connoisseurs in the audience. Meanwhile, the women stylishly and sensually inhabit the performance space, sharing vivid accounts of their own tactile experiences of wearing some iconic, memorable couture pieces.In the course of the show, we get a sort of crash course in mid-1980’s fashion, and the hour breezes by quickly. The models’ stories are intimate and fascinating, but accounts of the personal aspect of their lives are strangely absent, and it is one of the several shortcomings of a work that intends to put a human face to bodies reduced to glorified mannequins in the context of fashion shows. Likewise, while arrestingly endearing, this work suffers from a nearly complete lack of dramaturgy, so – if one reads it as a theatrical performance rather than a novelty item – it very quickly loses steam and falls flat into the sameness territory.

     

    /// Liz Santoro & Pierre Godard /// RELATIVE COLLIDER

     
    Pierre Godard and Liz Santoro have being collaborating closely for several years.
    Choreographer and dancer, Liz Santoro began her dance training at Boston Ballet School and with Marcus Schulkind. She then went on to study neuroscience at Harvard University where she received a Bachelor’s degree. She has worked with choreographers such as Alexandra Bachzetsis, Jack Ferver, Philipp Gehmacher, Trajal Harrell, Heather Kravas, David Wampach and Ann Liv Young.  
    Originally educated as an engineer, Pierre Godard has worked, after beginning a career in finance, in the theater as a technician, assistant lighting designer, stage manager, assistant director, and director. After completing a masters in Natural Language Processing at the Sorbonne Nouvelle, he recently began a PhD at LIMSI-CNRS which focuses on probabilistic modeling for multi-Level and cross-lingual alignments.
    Their work, which examines the performative role of attention and the diametric relationship between watching and being watched, has been presented by Movement Research at the Judson Church, Danspace Project at St Marks Church, The Chocolate Factory Theater, Dance Theater Workshop and the Museum of Arts and Design in New York as well as at Théâtre de Vanves, Atelier de Paris - Carolyn Carlson, Centre Pompidou-Metz, in addition to festivals such as Actoral, Impulstanz, Entre Cour et Jardins, et American Realness. Their piece Watch It, in the version presented by Museum of Arts and Design in New York, received a Bessie Award in 2013 for outstanding production. Their work has been supported by DRAC Ile-de-France, FUSED, and the Jerome Foundation.
     

    Relative Collider is a machine that offers us the opportunity to see, to measure, to quantify, to exchange, to experience information between nervous systems. Like the rings of particle accelerators, its structure holds value only insofar as it allows for the creation of an experience and production of specific results. Relative Collider works on the physics of attention; a collision of watching. We want to know why, we want to know how, and we want to show you what we know. We imitate each other to imitate ourselves, to show what has not been shown. We trust you while trusting that we do not know. When do we start and when do we finish? We are aware of each other, it is all we can do. Relative Collider seeks a point of contact between movement and text, where they each have the sole purpose of their own performance in front of an audience. Atoms subjected to different force fields, recombined into molecules that precipitate or dissolve under the attention of the viewer. Organic chemistry. Through a practice in the behavior of attention, in parallel with the study of our experience of time influenced by attention, we seek to describe, explore, and manipulate the interplay of different waves of energy, sound, and attention. In this attempt to understand the physical laws of our presence with each other, Relative Collider calls into question what is exchanged, created, and destroyed in the act of observing.

     

    Co-production L'Atelier de Paris–Carolyn Carlson, Théâtre de Vanves-Scène conventionnée pour la danse, The Chocolate Factory, Abrons Arts Center, avec le soutien de FUSED (French US Exchange in Dance), la DRAC Île-de France, le Centre National de la Danse, le Point Ephémère, et le festival ImPulsTanz

    lizsantoro.org

     

    /// Vincent Thomasset /// LETTRES DE NON MOTIVATION

    After studying literature in Grenoble, he works as a performer with various directors including Pascal Rambert. In 2007, he joins the Ex.e.r.ce training (National Choreographic Center of Montpellier), the starting point of three years of research. Initially, he mainly works in situ, escaping economic constraints. He accumulates different materials and literary, choreographic and plastic problematics, during public performances. He then writes a text he uses many times, whose title alone sums up the approach this time: Topographie des Forces en Présence. Since 2011, he produces reproducible forms including a series of shows entitled La Suite, the first two episodes (Sus à la bibliothèque ! et Les Protragronistes) were created as part of the festival Artdanthé -Théâtre Vanves. In 2013, he creates Bodies in the Cellar, and Médail Décor in 2014, the third episode of the series. In 2015, he creates a stage adaptation of Letters of non-motivation from Julien Prévieux.

    Initially, a simple protocol, Julien Prévieux, visual artist, responds to jobs negatively. Playing with his surroundings, he updates the balance of power, the mechanisms at work between those seeking work and those providing it. For each individual who, at one point, faced the job searching process, the cathartic power of these letters operates immediately: the reader can both projects him or herself in different postures and characters those letters contain, but also identify to the artist writing these letters of non-motivation.


    If Julien Prévieux project touches a wide audience, it is mainly thanks to his great work on language: whether he tends towards a hyper-writing or oralities with various textures, these heterogeneous literary motifs are a real playground who will find different types of resolution on stage. We will study the mechanisms at work during a reading, how they can be modified according to their nature (novels, speeches, poetry, theoretical article, etc.) and depending on the context (see for oneself, telling a story, read in public, etc.). We will observe how and when it is possible to embody these letters or, conversely, to make them heard.

     

    production : Laars & Co
production déléguée : Latitudes Prod.
Coproduction (en cours) : le phénix scène nationale Valenciennes, Festival d’Automne à Paris, Théâtre de la Bastille - Paris, La Bâtie - Festival de Genève, Théâtre Garonne - scène européenne - Toulouse, la Passerelle Scène Nationale de Saint-Brieuc, Les Spectacles vivants - Centre Pompidou, Le GRAND SUD Lille, avec la par- ticipation artistique du Jeune Théâtre National.
Ce spectacle a été répété au Théâtre de la Bastille et a bénéficié de son soutien technique.
Avec le soutien du CENTQUATRE-PARIS, du Centre Culturel Suisse-Paris.
Avec le soutien d’Arcadi Île-de-France, de la DRAC Ile-de-France / Ministère de la Culture et de la Communica- tion
remerciements : Ilanit Illouz, Lise Leclerc, Anne Lemoine, l’ensemble des personnes qui ont postulé aux audi- tions

     

     

    /// Gisèle Vienne /// THE VENTRILOQUIST CONVENTION

     
    Gisèle Vienne was born in 1976, she is a franco-austrian artist, choreographer and director. After graduating in Philosophy, she studied at the puppeteering school EcoleSupérieureNationale des Arts de la Marionnette. There she met Etienne Bideau-Rey with whom she created her first shows.
She works regularly with, amongs other, the writers Dennis Cooper and Catherine Robbe-Grillet, the musicians Peter Rehberg and Stephen O'Malley, the light designer Patrick Riou and the actor Jonathan Capdevielle. Since 2004, she has choreographed and directed, in collaboration with the writer Dennis Cooper, I Apologize (2004) and Une belle enfant blonde / A young, beautiful blond girl (2005), Kindertotenlieder (2007) and Jerk, a radioplay in the framework of the “atelier de creation radiophonique” of France Culture (June 2007), the play Jerk (2008), This is how you will disappear (2010), LAST SPRING: A Prequel (2011) and The Pyre (2013). In 2009, she created EternelleIdole with an ice skater and an actor and the rewriting of Showroomdummieswith Etienne Bideau-Rey. The same year she rewrites Showroomdummies with Etienne Bideau-Rey and in 2013 they rewrite it again for CCN-Ballet de Lorraine. Since 2005, she has been frequently exhibiting her photographs and installations.
    Gisèle Vienne, Dennis Cooper, Peter Rehberg and Jonathan Capdevielle published an audio book in 2 versions French and English: JERK / Through Their Tears (publisher DIS VOIR). She has published a book 40 PORTRAITS 2003-2008, in collaboration with Dennis Cooper and Pierre Dourthe (publisher: P.O.L). The current works in progress are this project in collaboration with the Puppentheater-Halle, an exhibition at the Centre d'ArtContemporain in Geneva for September 2015 as well as another exhibition at the FRAC Alsace for 2016 and an interpretation of Blue Beard’s castle of Bélà Bartok for La Monnaie-Brussels for 2017.
     
    Each year, the state of Kentucky hosts the biggest global convention of ventriloquists in the world. Inspired by this event, “The Ventriloquists’ Convention” is a fictional reconstruction of a ventriloquy convention. Initially the play may appear relatively simple; but it builds up as would an orchestral score, based on the manifold voices of characters whose psychological complexity is slowly revealed by their multi-layered dialogues. In this way what is said, thought, and emanates from the unconscious, the subtexts and the unspoken, is expressed out loud by the very fact of its context, in turns by the ventriloquist, his puppet or his interior voice. A form of drama unfolds where we can suddenly see both the madness and the normality of these conversations and the shift from seemingly uncomplicated relations to a real psychological labyrinth.
     
    Production Puppentheater, Halle et DACM (Halle / Saale & Strasbourg) Production Puppentheater Halle & DACM (Halle / Saale & Strasbourg)
    Coproduction Théâtre Nanterre-Amandiers - centre dramatique national // Festival d’Automne à Paris // Les Spectacles Vivants- Centre Pompidou // Centre Dramatique National Orléans/Loiret/Centre // Le TJP, Centre Dramatique National d’Alsace – Strasbourg // Le Maillon, théâtre de Strasbourg - Scène européenne // Internationales Sommerfestival, Kampnagel, Hamburg // Le Parvis, Scène nationale de Tarbes – Pyrénées // La Bâtie, festival de Genève // Kaserne Basel // Theater Freiburg // Bonlieu, Scène Nationale d’Annecy // hTh CDN Montpellier // Fidena Festival, Bochum
    Avec le soutien de Kulturstiftung des Bundes // Pro Halle e.V. // Saalesparkasse // Fachhausshuss Tanz und Theater Basel Stadt - Basel Landschaft // Institut Français dans le cadre de  "Théâtre export" // Bureau du théâtre et de la danse - Institut Français d'Allemagne & de l'association Beaumarchais-SACD Paris dans le cadre du programme d'aide à la production // les services culturelles de l'Ambassade de France à New-York.
    La Compagnie DACM est conventionnée par le Ministère de la Culture et de la Communication – DRAC Alsace, la Région Alsace et la ville de Strasbourg.
    Gisèle Vienne est artiste associée au Théâtre Nanterre-Amandiers depuis janvier 2014 et au Parvis, Scène Nationale Tarbes Pyrénées depuis 2012.

    g-v.fr

     

    PROFESSIONAL MEETINGS - RENDEZ-VOUS & CARTE BLANCHE

    The Rendez-vous are 1h30 sessions to get to know artists (makers) or programmers, while the Carte Blanche will allow you to meet theatres and the artists they support.

     

    RENDEZ VOUS

     

    MEET THE MAKERS  

    MUSIC AND MULTIDISCIPLINARITY

    With Noémi Boutin, Vincent Courtois, La Cordonnerie, Polymorphie

    Carreau du Temple

    Friday 2 October, 11 AM

     

    MEET THE MAKERS

    OBJECT AND PUPPET THEATRE

    With Alice Laloy, Stereoptik, Elise Vigneron

    Carreau du Temple

    Saturday 3 October, 2.30 PM

     

    MEET THE MAKERS

    YOUNG AUDIENCE   

    With Christine Le Berre, Rick Le Cube, Le Cri du Lustre

    Carreau du Temple

    Friday 9 October, 3 PM

     

    MEET THE PROGRAMMERS

    Networking session

    Carreau du Temple

    Friday 9 October, 11 AM

     

     

    CARTE BLANCHE      

     

    CARREAU DU TEMPLE

    THEATRE

    Collectif Colette, Das Plateau, David Geselson (tbc)

    Carreau du Temple

    Saturday 3 October, 11 AM

     

    LA VILLETTE

    DANCE

    Ivana Muller, David Wampach & Luke George

    La Villette (Halle aux Cuirs)

    Thursday 8 October, 6 PM

     

    ATELIER DE PARIS

    DANCE

    Emmanuelle Huynh, Alban Richard, Liz Santoro

    Atelier de Paris

    Friday 9 October, 4.30 PM

     

    LA COLLINE

    THEATRE

    Remy Barché, Sylvain Creuzevault, Julie Duclos, Caroline Guiela Nguyen, Guillaume Vincent.

    Théâtre national de la Colline

    Saturday 10 October, 11 AM

     

    WORK IN PROGRESS

    DANCE

    Bintou Dembélé - S.T.R.A.T.E.S

    Wip Villette

    Saturday 3 October, 3 PM

    Timetable

    Shows from October 5th to 7th

     

    Théâtre National de La Colline -  Stéphane Braunschweig, Les Géants de la montagne - October 3rd and 10th, 8.30pm (surtitled in english). More info here

    Théâtre de la Ville - Emmanuel Demarcy Mota, Le Faiseur - October 6th & 7th, 8.30pm. More info here

    Théâtre de la Ville - David Lescot, J’ai trop peur - October 5th, 10am & 2.30pm / October 7th, 3pm. More info here

    Théâtre Ouvert - Rodolphe Congé, L’Incroyable matin suivi de Jour, October 6th & 7th, 7pm. More info here

    Théâtre de la Bastille - Noé Soulier, Removing Dates - from October 12th to 16th, 9pm. More info here

    Théâtre Nanterre Amandiers - Cie Yan Duyvendak, Sound of Music - October 6th & 7th, 8.30pm. More info here

    Théâtre Rutebeuf - Didon et Énée, Le Crocodile Trompeur - October 5th & 6th.

    Théâtre de la Foudre (Petit-Quevilly, Haute Normandie) - David Bobée / Sébastien d’Hérin, DIOS PROVEERÀ - October 7th, 8pm. More info here

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