Created and put together by the Nouvelle Cinémathèque de la Danse, these half-hour montages presenting an artist from a particular angle are available on request from the Pôle Diffusion team.
Cindy Van Acker, géométriquement nôtre
Speechless Voices, 2016
With the authorization of compagnie Greffe / Cindy Van Acker
Alain Buffard, les théâtres du moi
Since Good Boy, his first solo work, or the first that counted, Alain Buffard has been exploring his own body, its strengths and weaknesses, its powers and frailties. Subsequently, he continually invented occasionally theatrical productions that would help him to reflect on what underpins and creates a troubled and perhaps trembling identity (the trembling figure is one that often recurs in his work). Masks, T-shirts, wigs, polystyrene costumes, high-heeled compensation shoes, fragmented bodies: the works of Buffard, of MORE et encore à Wall Dancin’ – Wall Fuckin’, invent a new grammar of identity: what is it that makes us resemble someone else, and how can we go from one genre to another, from one face to another, and how can these incessant movements find a community?
Les Inconsolés, 2005
MORE et encore, 1999
INtime / EXtime, 1999
My Lunch with Anna, 2005
Good Boy, 1998
Wall Dancin’ - Wall Fuckin’, 2003
Dispositifs 3.1, 2001
Mauvais genre, 2003
Métamorphoses de François Chaignaud
2019, 15 min.
All the pieces written by François Chaignaud, most often in collaboration (with Cecilia Bengolea, Nino Laisné, Théo Mercier…) constantly satisfy this principle: you go there to live, sing, dance ‘characters who have no other choice than to transform reality according to their desires’. In other words, male or female they all set their hearts on transcending their conditions such as to produce norm-less bodies that have succeeded in overcoming the categories to which life and the world wanted to assign and limit them. This is a question of gender of course, but not only, not only at all: the contemporary recumbents in Sylphide, or the seventeen François Chaignauds as though coming from Body Double clearly state that, in this work, what needs to be transgressed are limitations.
Думи мої – DUMY MOYI, 2013, realisation 24 images
Offrande (un portrait de François Chaignaud), 2008, realisation Sothean Nhieim
Soufflette, 2018, with Carte blanche, realisation Bergen International Festival
Romances incertos, un autre Orlando, 2017, en collaboration avec Nino Laisné, realisation Nino Laisné
Radio Vinci Park, 2016 en collaboration avec Théo Mercier, realisation Augustin Jacob, Sarah Tchheurekdjan, Claire Rouvillain Sylphides, 2009, with Cecilia Bengolea, realisation CN D
Narcisse, 1905, chorégraphie Isadora Duncan, transmission Élisabeth Schwartz, réalisation CN D
altered natives’s Say Yes To Another Excess – Twerk, 2012, with Cecilia Bengolea, realisation du CN D
Body Double 35, 2017, realisation de Brice Dellsperger
With the authorization of François Chaignaud/Vlovajob Pru, Brice Dellsperger, Nino Laisné, Sothean Nhieim, 24 images
Lucinda Childs, getting going
2018, 30 min.
The art of Lucinda Childs could be described as the story of a choreographer who amplifies her movements little by little. In her first performances, she played on the gestures that society allots, not always kindly, to women: making sandwiches (Carnation) or taking a bath with elegant legs (Pastime). Then, gradually, she got going by standing up as a militant claiming her autonomy, who only wants to live and dance in a world whose laws she defines herself. Mathematical abstraction and geometrical compositions are a neutral world in which Lucinda Childs has succeeded in becoming a mistress of forms and durations (Melody Excerpt). Based on this knowhow, she was able to return to the world of classical ballet: arabesques and ports de bras then became complex-free parts of her splendid combinatorics.
Carnation (1964), realisation by Bob Lockyer, 1990
Pastime (1963), realisation by Marie-Hélène Rebois, 2016
Reclining Rondo (1975), realisation Centre national de la danse, 2016
Calico Mingling (1973), realisation by Babette Mangolte, 1973
Radial Courses (1976), realisation Centre national de la danse, 2016
Melody Excerpt (1973), realisation by Jorge Cousineau (film + animation), 2013
Katema (1978), realisation by Renato Berta, 1978
Einstein on the Beach, An Opera in Four Acts (1976), realisation by Jack Moore, 1976
Dance (1979), realisation by Marie-Hélène Rebois, 2014
Kilar (2013), realisation by Introdans, 2013
Volmir Cordeiro, Panoplies
There is always a moment in Volmir Cordeiro’s pieces – which are above all, for the moment in his young career, solos or quasi-solos – where clothing takes on its full significance. For example, he dances in a loose black tunic that hides nothing, he pulls down his tights and pulls them back on, he wraps himself in colourful fabrics or he sticks two pieces of black sticky tape over his eyes. What purpose does this panoply serve? It no doubt shows that perception follows conventions – social as well as with regard to clothing – and that what he is trying to dance, with his huge limbs that slice through and disrupt space, is a form of dance that deconstructs the gaze and accepted norms.
Pièce de Cœur, 2012
L’œil, la bouche et le reste, 2017
Fanny de Chaillé, being offbeat
2018, 30 min.
In Fanny de Chaillé’s work, there is always a moment which can be comic, or even totally burlesque, when things we thought to be stable waver or drift off course: you bump straight into doors, you stumble and fall, you watch your own shadow live out its life in front of you, you speak without opening your mouth, you fail to make yourself understood. In the end, everything in this work is a question of rhythm. Not the right rhythm, not at the right moment, not with the right words, nor in the right order. By artfully playing on a full palette of shifts (the camera can even film off-centre), Fanny de Chaillé invents a dance-theatre that touches on the bitter-sweetness of the greatest difficulties in life. In the end, it is hard to leap calmly into a current of language or gestures and allow yourself to slip gently inside.
Lisbeth Gruwez, de l’endurance
2019, 30 min.
Since she started writing her own choreographies, after being a talisman performer during the great years of Flemish dance, in particular with Jan Fabre, Lisbeth Gruwez has pressed on into the same zone: the exhaustion of gestures, the endurance of movements. Everything must persist and resist. Whether it be with hilarious jerks (AH/HA), an undulating torso (Lisbeth Gruwez dances Bob Dylan) or the backwash of a wave (The Sea Within), the point is always to push movement beyond what is reasonable, as far hypnosis and, perhaps, trance. The bodies — both those of the performers and the spectators — struggle with fatigue, then get their respiration back, to breathe just so as to endure such a harsh duration.
L’origine, 2011, realisation Kris Kenis
It’s Going To Get Worse and Worse and Worse, My Friend, 2012, realisation Voetvolk vzw
Lisbeth Gruwez Dances Bob Dylan, 2015, realisation Voetvolk vzw
The Sea Within, 2018, realisation Voetvolk vzw
Ah/Ha, 2014, realisation Voetvolk vzw
We’re Pretty Fucking Far From Okay, 2016, realisation Voetvolk vzw
Penelope, 2017, realisation Voetvolk vzw
With the authorization of Lisbeth Gruwez, Maarten Van Cauwenberghe, Voetvolk vzw
Daniel Linehan, rythme et langage
2019, 15 min.
How to sum up Daniel Linehan? Rhythm and language. For this American choreographer, based in Brussels s, what is evocative about us is what gives meaning and rapidity to our gestures. Sometimes these are just murmurs, decomposed syllables or groans (Digested Noise) and sometimes phrases by Hugo Ball or Plato. Sometimes, it is a constantly repeated sentence (Not About Everything) and, other times, words which the dancers shake up to the rhythm of lights that go on / go out. But, each time, language is the place where gestures discover a reason to be born and to invent subtle discourses full of retakes and interruptions.
The Karaoke Dialogues, 2014, filmed on May 22, 2014 at Kaaitheater in Brussels
Zombie Aporia, 2011, filmed on September 29, 2015 at STUK in Leuven
Not About Everything, 2007, filmed March 24, 2017 at Bouge B deSingel festival in Antwerp
Un Sacre du Printemps, 2015, filmed on June 12, 2015 at the Lille Opera
dbddbb, 2015, filmed on February 4, 2016 at Kaaitheater in Brussels
Flood, 2017, filmed on April 28, 2017 at Kaaitheater in Brussels
With the authorization of Daniel Linehan, HIATUS vzw/asbl.
Maguy Marin, ou comment dire
Not only does Maguy Marin dance with bodies. She also dances with sounds, onomatopoeia, words, phrases, foreign languages, language in general. From her earliest works, words have always been not only material but also one of the key driving forces of movement, a sort of rhythmic rule more or less hidden, as demonstrated by the famous Fini. C’est fini. Ça va finir. Ça va peut-être finir, taken from Beckett, and which offers a rhythmic unit to the compositions of May B. But between the very simple frightened “Ah’s” and surprised “Oh’s” (Ramdam) that give the dancers impetus and phrases in Latin from Lucretius that immobilise them (Turba), there are, it is true, a hundred ways of using language, as Maguy Marin joyfully proves.
A dancer and choreographer, Maguy Marin, born in Toulouse, studied classical dance at the Conservatoire de Toulouse then entered the Ballet de Strasbourg, before joining Mudra, Maurice Béjart’s multi-disciplinary school in Brussels. In 1978, with Daniel Ambash she created the Ballet-Théâtre de l’Arche, which became the Compagnie Maguy Marin in 1984. The Centre Chorégraphique National de Créteil et du Val-de-Marne was created in 1985, a hub of intense work that was disseminated throughout the world. In 1987, the encounter with the musician and composer Denis Mariotte led to a long collaboration. In 1998, the Centre Chorégraphique National moved to Rillieux-la-Pape. An “us in time and place” that reinforces our ability to bring out “these diagonal forces that resist forgetting” (Hannah Arendt). In 2011, she re-evaluated the methods used by the company for its reflection and practice. In 2012, after the intensity of the years spent at the CCN in Rillieux-la-Pape, a need was felt for a new stage rooted in the city of Toulouse. In January 2015, Maguy Marin and the company returned to Lyon. Their work at Ramdam in Sainte-Foy-lès-Lyon saw the creation of an ambitious new project: Ramdam, an art centre.
May B, 1981
Babel Babel, 1982
Aujourd’hui peut-être, 1996
Ha ! Ha !, 2006
Pour ainsi dire, 1999
Quoi qu’il en soit, 1999
Description d’un combat, 2009
Solitude(s) de Mathilde Monnier
Mathilde Monnier’s dance is imbued with the theme of solitude. Although there are many dancers on stage in her works, each dancer is detached through his individuality and the way he finds his place in the group or solo. In Tempo 76, a work given rhythm by unison, obeying the metronome of Ligeti’s music, each dancer is both a common body and a single body. In Déroute, the performers follow their paths on the same floor, meeting or passing each other by chance according to their progression. Les Lieux de là, also, in its way, recounts the story of the dispersal of a community that is endlessly reconfiguring itself. Duos and trios—linking figures—are frequent in Mathilde Monnier’s grammar, but what dominates are solitary dancers, true solos or several solos (see the rock wanderings of Publique), where each man or woman allows themselves to be led by their own movement and their own waywardness.
Les lieux de là, 1999
Pour Antigone, 1993
Tempo 76, 2007
Pavlova 3’23’’, 2010
MM in Motion, 1992
2008 vallée, 2006
Christian Rizzo, mortellement
In the work of Christian Rizzo, the stage is nearly always dark, circumscribed by night, darkness, the fear of darkness and nasty rabbits (b.c., janvier 1545, Fontainebleau). Death is constantly on the horizon in his pieces. But it is not always frightening. Sometimes, of course, it resembles the hanged (Le Bénéfice du doute) or a motorcyclist in a helmet who brings to mind the films of Cocteau (Comme crâne, comme culte), but at other times it is also as gentle as two ghostly dresses that dance in the breeze from fans (100% Polyester). Gentle or cruel, however, it is death that endlessly roams, surrounds, consoles or petrifies, making the dancers cry out or fall (Soit le puits . . .), with threats to immobilize them in frozen poses. Rizzo’s dance is a dance with or against death, where each movement is ultimately a joyous sign of survival.
Soit le puits était profond, soit ils tombaient très lentement, car ils eurent le temps de regarder tout autour, 2005
D’après une histoire vraie, 2013
Le Bénéfice du doute, 2012
Le Syndrome Ian, 2016
b.c, janvier 1545, Fontainebleau, 2007
Sakınan göze çöp batar, 2012
Comme crâne, comme culte, 2005
Et pourquoi pas : “bodymakers”, “falbalas”, “bazaar”, etc, etc... ?, 2001
Fom 1, 2009
100% Polyester, objet dansant n° (à définir), 1999
Noé Soulier, écriture sur écriture
2017, 15 min.
Writing is a recurring theme in Noé Soulier’s work, whether he is commenting on and explaining out loud his own dancing while he is doing it, or whether he is writing precise phrases that dancers appropriate in their own way, starting and ending them where they want. Each time he reflects on what writing can contribute to dance. It is no doubt Noé Soulier’s belief in the richness of choreography that makes the avenue he has started to explore so unique.
Hand catching signs, 2013
Mouvement sur mouvement, 2013
Le Royaume des Ombres, 2009
Petites perceptions, 2010
Movement materials, 2014
Signe blanc, 2012
Faits et gestes, 2016
La Ribot, or the duration of the gesture
2018, 30 min.
The frequent nudity in La Ribot’s work hides something. Something different, and something moreover that is well worth looking at. First of all, La Ribot loves to experiment with duration, which she stretches out as much as possible – sometimes for hours, as in Laughing Hole, where the female dancers exhaust themselves laughing. In addition, she is not afraid to return to the simplest gestures and repeat them endlessly, very often subverting classical grammar, as demonstrated by the almost comical and highly energetic chorus lines of PARAdistinguidas. Duration and repetition are part of a more general project based on hypnosis or fascination, of which the minimalist trio Another Distinguée is a magnificent example. The aim is to alter the viewer’s perception, to give them a chance to inhabit another time and another place, a space where expectations collapse, where there is nothing to generate other than the very naked feeling of being there.
Muriéndose la sirena, Pièce distinguée n°1 (1993) / Treintaycuatropiècesdistingué&onestriptease 1991-2003, réalisation de Luc Peter, 2003
N°14, Pièce distinguée n°14 (1997) / Distinguished Hits 1991-2001, réalisation du Centre national de la Danse, 2016
Desasosiego, Pièce distinguée n°52 (2016) / Another Distinguée, réalisation du Collectif des routes, 2016
Gustavia (2008), conception de La Ribot et Mathilde Monnier, réalisation de Luc Peter, 2009
Forex, Pièce distinguée n°44 (2011) / PARAdistinguidas, 2011
40 Espontáneos (2004), réalisation de Jean-Yves Varin, 2004EEEXEEECUUUUTIOOOOONS !!! (2012), réalisation du CCN-Ballet de Lorraine, 2012
Laughing Hole (2006), réalisation de Luc Peter, 2009
19 equilibrios y un largo, Pièce distinguée n°19 (1997) / Distinguished Hits 1991-2001, réalisation du Centre national de la Danse, 2016
Sans titre IV, Pièce distinguée n°17 (1997) / Treintaycuatropiècesdistingué&onestriptease 1991-2003, réalisation de Luc Peter, 2003
Ana Rita Teodoro: animal body, vegetal body
2018, 15 min.
Ana Rita Teodoro creeps like a worm or a snake through the streets of Lisbon. She picks up papers between her legs like a busy spider. She slowly undulates her arms, like supple seaweed at the bottom of an aquarium. She glides over another body in a strange simulation of love. In the dance of this young Portuguese choreographer there is a feeling of both animality and vegetation, a wilful exploration of the frontiers of the human body; hence the title Orifice, which is often a generic term for her. Ana Rita Teodoro moves along the edges of spaces. The idea of such dancing is to feel what a body can learn by mingling, temporarily, with another nature, or other forms of gesturing, and above all an organicity which is utterly different, which givess the body a strange and appealing way to inhabit space and time.
MelTe, 2012, réalisation d’Alex Mogly
Plateau (Collection Délirer l’Anatomie), 2017, réalisation du Centre national de la danse (avec Bernardo Chatillon)
Rêve d’intestin (Collection Délirer l’Anatomie), 2015, réalisation de Marcia Lança
Fantôme méchant, réalisation de Nuno Figueira, 2015
Orifice Paradis (Collection Délirer l’Anatomie), 2012, réalisation du CNDC d’Angers (images : Tidiani N’Diaye)
Gisèle Vienne, le suspens
2019, 30 min.
Gisèle Vienne’s dance seems never to give up on narrating something — even if it’s not always clear exactly what. Perhaps nothing specific at all, perhaps just the simple feeling of there being a story. What matters above all is the construction of effects of suspense and suspension to say that we (spectators, humans) have been caught up in a tale that transcends us and could aggress us at any moment (as in the gory prose of Dennis Cooper, the choreographer’s regular collaborator). Puppets, skaters, clubbers: each of Gisèle Vienne’s characters is trapped on the horizon of a threatening world. Blows, injuries, death: the worst is almost always certain, in fact look, it’s coming, it’s here.
LAST SPRING: A Prequel, 2012, realisation Stéphane Nota
Jerk, 2008, realisation Antoine Parouty
The Ventriloquists Convention, 2015, realisation Patric Chiha
I apologize, 2004, realisation Patric Chiha
Showroomdummies 2#, 2001, realisation Stéphane Nota
This is how you will disappear, 2010, realisation Stéphane Nota Eternelle
Idole, 2009, realisation Stéphane Nota
Kindertotenlieder, 2007, realisation Patric Chiha
The Pyre, 2013, eéalisation Stéphane Nota
Crowd, 2017, realisation Caroline Detournay et Paulina Pisarek
With the authorization of Gisèle Vienne. Photo Patric Chiha.
Miet Warlop, la désinstallation
2019, 16 min.
Plaster and paint, water and plastic, inflatable objects and explosive sculptures, animal bodies and absurd protheses: the world of Miet Warlop, visual-artist performer or performing visual artist, it all depends, often consists in unsettling the world ludically, wildly and often destructively. Paint guns sullying a milky whiteness (Big Bears Cry Too) or exploding chemical solutions, feathers flying everywhere, or a set shattered by blows from a ladder (Mystery Magnet): in any case, the stage space is devoted to attending its own reconfiguration. But this is not a sad apocalypse. On the contrary, it is genuinely creative because the world which has been beaten up by Miet Warlop is actually inviting us into a new balance. In an unsettled world, we can always settle down again.
Horse. A Man, A Woman, A Desire for Adventure, 2017, realisation Miet Warlop / Irene Wool vzw
Dragging the Bone, 2014, realisation Latitudes Prod (Lille)
Big Bears Cry Too, 2018, realisation Jan Bosteels
Mystery Magnet, 2012, realisation Pascal Poissonnier
Fruits of Labor, 2016, realisation Miet Warlop / Irene Wool vzw
Ghost Writer and the Broken Hand Break, 2018, réalisation de Jan Bosteels
With the authorization of Miet Warlop, Miet Warlop / Irene Wool vzw, Jan Bosteels, Pascal Poissonnier, Latitudes Prod – Lille.