Danser l’espace
[Dance and Space]
2018
50 min.
La Féérie des ballets fantastiques by Loïe Fuller, directed by George R. Busby, 1934, (excerpts) Three choregraphies by Loïe Fuller, performed by the company of Loïe Fuller dancers directed by Gab Sorère:
Schubert's musical moment, with Miss Briggs
Le Lys, Prélude du Déluge de Saint-Saëns, with Miss Baker
Margaret Morris's Exercices pour enfants, 1936
Inspiration and Ballspiel, choreography by Isadora Duncan, transmission of Lisa Duncan, directed by Jacques Pyros interpretation of Odile and Valérie Pyros, from the movie Danser, c'est vivre, 1971
Unpublished plan of Isadora Duncan dancing
Out of boundaries, choreography Anna Halprin, directed by Jacqueline Caux, 2004
Early Works by Trisha Brown filmed in the Tuileries gardens in 2008: Primary Accumulation Group (1973) and Spanish Dance (1973)
Muurwerk, choreography by Roxane Huilmand, directed by Wolfgang Kolb, 1987
Topic I, Pacal Baes, 1990
Rapture, choreography and direction Noémie Lafrance, 2008
Melte, choreography Ana Rita Teodoro, directed by Alex Mogly, 2012
100 km DanceWalk, Foofwa d’immobilité
Although I live inside ... My hair will always reach towards the sun, conception of Robyn Orlin, interpretation of Sophiatou Kossoko, 2004
Un regard sur la danse actuelle
[A look at dance today]
2015
60 min.
This montage presents the work of around ten choreographers. Some began as early as the 1980s and continue to produce works, while others are younger emerging artists, as is the case of the two choreographers who appear at the end of the montage.These choreographers are multi-disciplinary artists working in various media, breaking down barriers between the arts (visual arts, music) and collaborating, above all, with numerous artists.
Shirtologie II, creation Jérôme Bel, direction Aldo Lee et Jérôme Bel, 2015
100% Polyester, creation Christian Rizzo, lumière Caty Olive,1999
Corbeau, choregraphy Myriam Gourfink, direction Stéphane Caroff, 2007
I Apologize, creation Gisèle Vienne, 2005
Les Inconsolés, creation Alain Buffard, 2005
Magma, choregraphy and direction Boris Charmatz, 2007
Soapéra, creation Mathilde Monnier and Dominique Figarella, 2010
Promenade obligatoire, choregraphy Anne N’ Guyen
Movement Materials, creation and choregraphy Noé Soulier, Fondation Vuitton, 2014
Communauté / être ensemble
[Community / being together]
2016
45 min.
What communities does dance create? How do they relate to reality and to society? Are they critiques or utopias? This montage focuses in particular on the collective adventures that have represented moments of intense freedom, mainly in avant-garde movements, but also that can be expressed by the simple desire to have a good time together on the dance floor.
Denishawn, école de Ruth St-Denis et de Ted Shawn, 1919-1930
Parade&Changes replay in expansion, choregraphy Anna Halprin, version d’Anne Collod, 2008
Document École Laban, c.1925
Messe pour le temps présent, choregraphy Maurice Béjart, 1968
The Savoy Ballroom, choregraphy de Mura Dehn, 1950
Blush, direction and choregraphy Wim Vandekeybus, 2005
La Nudité en danse
[Nudity in dance]
2015
60 min.
Far from being a recent feature of contemporary dance, nudity was present from the very beginnings of modern dance, with the costumes of Isadora Duncan that played cleverly on the tension between clothing and nakedness. It traces an unbroken line to the present day, where it can become the very subject of dance, as in the work of Jan Fabre and Maria Donata d’Urso.
Isadora Duncan dansant, 1920
Danse Nicolska, 1920
Documents d’archives sur le cabaret Tabarin, 1930
Duo d’Eden, choregraphy de Maguy Marin, 1986
Striptiz, creation Graziella Martinez, 1986
Tragédies, choregraphy d’Olvier Dubois, 2012
Pezzo 0 (due), creation and performance Maria Donana D’urso, 2002
Magma, choregraphy and direction Boris Chartmatz, 2007
Quando l’uomo principal é una donna, choregraphy de Jan Fabre, 2004
Queer Bodies
2018
50 min.
Mistermissmissmister (2002), choregraphy Ana Borralho & João Galante, réalisation CN D, 2017
Ana, choregraphy and directed Régine Chopinot, 1991
Under My Skin, Hommage à Joséphine Baker (1996), choregraphy et performance Mark Tompkins, 2018
(M)imosa (2011), conception Trajal Harrell, Marlene Monteiro Freitas, Cecilia Bengolea, François Chaignaud, directed CN D, 2016
Antigone Jr./ Twenty Looks or Paris Is Burning at the Judson Church (Jr.) (2011), choregraphy Trajal Harrell, directed CN D, 2016
INtime / EXtime, creation Alain Buffard, 1999
Good Boy (1998), creation and performance Alain Buffard, 2003 Alexandre, choregraphy and performance Pol Pi, directed CN D, 2018
Fantôme méchant (2013), choregraphy and performance Ana Rita Teodoro, realisation CN D, 2018
Totemic Studies, choregraphy and performance Matthieu Barbin, réalisation CN D, 2018
Pâquerette (2008), creation and performance Cecilia Bengolea et François Chaignaud, directed CN D, 2017
Tragédie, choregraphy Olivier Dubois, 2014
To Come, creation and choregraphy Mette Ingvartsen, 2005
Rouler dans la farine & autres délices (danse et nourriture)
2019
52 min.
Another pa amb tomàquet, direction La Ribot, 2002
Incarnat, choregraphy Lia Rodrigues, directed CN D, 2005
Wall Dancin’ – Wall Fuckin’, choregraphy Alain Buffard, 2003
Carnation, performance Lucinda Childs, direction Bob Lockyer, 1991
Solum, choregraphy Mustafa Kaplan et Filiz Sizanli, 2005
L’œil la bouche et le reste, choregraphy Volmir Cordeiro, direction CN D, 2017
May B, choregraphy Maguy Marin, direction Charles Picq et Luc Riolon, 1981
My lunch with Anna, réalisation Alain Buffard, 2005
Magical, performance Annie Dorsen, reenactment of Anne Juren, directed CN D, 2014
Aujourd’hui à deux mains 7/15 (Jean-François Osmont, le Boulanger), directed Pascale Houbin, 2009
Daddy, I’ve Seen This piece Six Times Before and I Still Don’t Know Why They’re Hurting
Each Other, choregraphy Robyn Orlin, direction CN D, 2006
Danse traditionnelle contemporaine
[Contemporary traditional dance]
2019
50 min.
This montage focuses on folk dancing and how it has inspired contemporary choreographers. This document shows that contemporary dance has been mainly interested in two aspects of popular dances. To begin with there was a lot of foot stamping, clapping of hands and banging of feet, as if the body was a sounding board, a percussion instrument, as if the main aim of popular dance was to produce a body that would follow a binary rhythm. Most of these dances indeed have a binary rhythm and some people think that this rhythm is one that is very close to the rhythm of life. This is evidently what Nijinsky was seeking, but he was not the only one. Contemporary choreographers have also been interested in the highly geometric arrangement of folk dances. Forming a circle or a line, coming out of the circle or the line, and then to come back, all the while tracing fairly complex combinations of geometrical figures – all of that seems to have been a basic element for contemporary choreographers, for whom folk dances offer a way of creating an abstract space on stage.
Jota antiga by Rio de Onor, choreography and performance by Ana Rita Teodoro, music performed by Ricardo Santos and Ti Mariano, direction Tiago Pereira, 2018
Sons of Sissy choreography by Simon Mayer, direction CN D, 2016
JINX 103 choreography by Jozsef Trefeli and Gabor Varga, directed by CN D, 2014
FOLK-S will you love me tomorrow? choreography by Alessandro Sciarroni, production by Cosimo Terlizzi, 2012
D’après une histoire vraie by Christian Rizzo, 2013
9 000 pas, choreography by Joanne Leighton, teaser, 2015
Penelope, choreography by Lisbeth Gruwez, 2017
Colin Dunne & eRikm Project, direction CN D, 2016
Colin Dunne, Evening Discoveries "Danses Partagées", direction CN D, 2014
Nkululeko, choreography by Via Katlehong Pantsula, directed by CN D, 2009
On va gâter le coin !, Act 2 of the Coupé-Décalé show, choreography by Robyn Orlin and James Carlès, directed by CN D, 2014 Sardinian dances collected by Francine Lancelot, 1983
Flute of Krishna, choreography by Martha Graham, 1926
Sacre #2, Reenactment of Vaslav Nijinski's Dance of 1913, choreography by Dominique Brun, directed by Ivan Chaumeille, 2014
La danse performance
2018
50 min.
This montage examines the significance of performance in the field of choreography and on the two defining concepts: performance as an artistic, and even political, act and physical performance.
Tanzerische Pantomimen, performances Valeska Gert, direction Suse Byk, 1925
Early Works: Group Primary Accumulation (1973), Floor of the Forest (1969-1971), performances Trisha Brown, direction Cinémathèque de la danse, 2008
La la la human sex duo n o1, choregraphy Édouard Lock, direction Bernar Hébert, 1982
MC 14/22 (ceci est mon corps), choregraphy Angelin Preljocaj, 2001
Quando l’uomo principale è una donna, 2004, choregraphy Jan Fabre, 2004
Warm, choregraphy David Bobée, direction CN D, 2013
Sweat Baby Sweat, chorégraphie Jan Martens, 2011
Parades & Changes replay in expansion (2008), choregraphy Anne Collod, reinterpretation of Parade and Changes (1965), choregraphy Anna Halprin, 2008
Im Bade Wannen, choregraphy and performance Susanne Linke, direction Charles Picq, 1982
It’s going to get worse and worse and worse, my friend, creation, choregraphy and performance Lisbeth Gruwez, 2012
Danse et burlesque
[Dance and Burlesque]
In cinema, slapstick is based on a subtle discordance between body, objects and spaces, propelling Charlie Chaplin, Buster Keaton and Harold Lloyd into frenetic choreographies. Dance would also explore the poetry of these incongruities, in works that mischievously link up with these early sources.
Steamboat Bill Junior (Cadet d’eau douce), with Buster Keaton, 1928
Abracadabra, choregraphy Philippe Decouflé, 1998
Les 3 Jones, numéro de music-hall, 1896
Never Weaken (Voyage au Paradis), with Harold Lloyd, 1921
Gustavia, choregraphy and performance Mathilde Monnier and La Ribot, 2008
Les Hallucinations d’un pompier, with Joséphine Baker, 1927
Calling All Stars, avec Buck and Bubbles, 1927
Sorry Do the Tour !, choregraphy Marco Berrettini, 2005
Love, choregraphy Loïc Touzé and Latifa Laâbissi, 2003
One A.M. (Charlot rentre tard), with Charles Chaplin, 1916
La Comédie musicale égyptienne
[The Egyptian musical comedy]
1998
56 min.
During the 1950s, Egypt turned out between 50 and 80 films per year, mostly musicals, melodramas and comedies that were shown throughout North Africa, in the Middle East and even in certain traditionally Muslim Asian countries (such as Indonesia). But the Egyptian musical succeeded in inventing a style that was radically different from Hollywood. Director Henry Barakat, singer Farid al Atrache and dancer Samia Gamal in particular produced half a dozen particularly enchanting musicals in the 1950s.
al-Wahch [Le Monstre], direction Salah Abou Seif, 1954
Intiqâm al-habib [La Vengeance de l’être aime], direction Gianni Vernuccio, 1951
Tamr henna [Fleur de henné], direction Hussein Fawzi, 1957
Gharâm wa Intiqâm [Amour et vengeance], direction Youssef Wahbi, 1944
Mâ t’oulch lihadd [Ne le dis à personne], direction Henry Barakat, 1952
Taxi al-gharâm [Taxi d’amour], direction Niazi Mostafa, 1954
‘Ifrîtah hânim [Madame La Diablesse], direction Henry Barakat, 1949
Sigârah wa kâs [Un verre, une cigarette], direction Niazi Mostafa, 1955
Fatmah, direction Ahmed Badrakhan, 1947
Anta habîbî [Tu es mon amour], direction Youssef Chahine, 1957
Couleurs
[Colors]
2017
60 min.
L’après-midi d’un foehn version 1, conception et chorégraphie Phia Ménard, 2008
Danses serpentines n o765, direction Louis Lumière, 1896
Sacre #2, choregraphye Dominique Brun, recréation de la danse de Vaslav, 2014
Nijinski de 1913, pour trente et un danseurs contemporains, music Le Sacre du printemps Igor Stravinski
HOMMAGES, La valse de Vaslav - Hommage à Vaslav Nijinski, choregraphy and performance Mark Tompkins, 1998
To Come, creation and choregraphy Mette Ingvartsen, 2005
Bleu Remix, creation and performance Yann Marussich, vidéo Julie Semoroz, Winzavod Centre for Contemporary Art, Moscou, 2007
Bascule, choregraphy David Wampach, 2005
Le Ballet Triadique d’après Oskar Schlemmer (1925), replenishment 1970
Rave, choregraphy Karole Armitage, 2003
Fusion, 1967, choregraphy Alwin Nikolaïs, direction Ed Emshwiller
Et pourquoi pas : « Bodymakers », « falbalas », « bazaar », etc, etc… ? (2001), chorégraphie Christian Rizzo
Feed Back Paint, projection and direction Pascal Baes, choregraphy and performance Aï Suzuki, 2004
Les Sylphides, creation François Chaignaud et Cecilia Bengolea, 2009
Black Out, choregraphy Philippe Saire, 2011
Incarnat, choregraphy Lia Rodrigues, 2005
Mystery Magnet, creation Miet Warlop, 2012
EEEXEEECUUUUTIOOOOONS !!!, choregraphy La Ribot, 2012