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.
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
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
Noé Soulier, écriture sur écriture
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
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
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
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
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)
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.
Daniel Linehan, rythme et langage
2019, 15 min.
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