Artists’ careers

Alwin Nikolaïs

While for Merce Cunningham all dancers were a priori equal, Alwin Nikolais establishes an equivalence in qualities between dancers, costumes, sounds and lights; each element of the performance represents a unique medium with its own register of rhythms, which must be coordinated with the others. With Alwin Nikolais there is a body rhythm, a costume rhythm, a sound rhythm and a light rhythm. It is no coincidence that Alwin Nikolais has chosen to work with one of the most innovative filmmakers, Ed Emshwiller, to make his dance films. They share an attraction to the movement of colours in the air. For them, colour and light in space can also be as substantial as on a canvas.

Fusion, réalisation de Ed Emscwiller, chorégraphie et musique de Alwin Nikolaïs, 1967
Film with Three Dancers, réalisation d’Ed Emshwiller, chorégraphie d’Alwin Nikolaïs, 1970
Chrysalis, réalisation d’Ed Emshwiller, chorégraphie d’Alwin Nikolaïs, 1973
 

Moments de Pina Bausch

Montage created by the Cinémathèque de la Danse, with the support of the Comédie de Clermont-Ferrand - Scène nationale and with the gracious permission of Éditions de l’Arche.

Pina Bausch’s method was based on choosing her performers for who they were and what they had experienced. At the beginning of rehearsals, she would ask the dancers a simple question about the themes of identity, memory, desire, the relationship between men and women, in order to enable them to plug into emotional experiences and gradually bring them towards what she wanted. This collective ritual, this introspective work with her dancers was a form of collective creation that was a long way from classical dance or contemporary dance. Another notable fact was the presence of 26 performers in the company, many of whom remained for many years. Pina Bausch’s works are simultaneously revues, operettas, happenings and performance art. Humour is very present, but things rapidly slide into hysteria, violence and eroticism. Her works are full of emotionally charged exchanges that express the inability of men and women to communicate with each other.

Répétition du Sacre (Probe Sacre), avec Pina Bausch et Kyoni Ichida, 1994
Le Sacre du printemps (Das Frühlingsopfer) (chorégraphie de 1975), 1978
Barbe Bleue (Blaubart), (chorégraphie de 1977), 1984
Cafe Müller (chorégraphie de 1978), 1986
Walzer, 1982
Nelken, 1982
Palermo Palermo, 1989
La Plainte de l’impératrice (Die Klage der Kaiserin), 1987-1989

 

Maguy Marin : Retour sur Umwelt

First performed in France and Europe in 2004, Umwelt has been widely admired in the dance world, while also having a stormy and occasionally violent public reception. However, since works like May B and Cendrillon, Maguy Marin has been one of the most important French choreographers, and one of the most popular with the public. The Cinémathèque de la Danse wanted to accompany Umwelt in images, to show the links between the pieces by Maguy Marin that are already classics of contemporary dance and this latest work. It shows the sketches that would culminate in Umwelt, and right throughout Maguy Marin’s career, resonating in particular with the idea that dance is not only a performance, but a form of engagement with the world.

Programme conceived with Maguy Marin.

La Jeune Fille et la Mort, avec Christiane Glik et la compagnie Maguy Marin, réalisation de Mirto Storni, 1979
May B, avec la compagnie Maguy Marin, réalisation de Charles Picq et Luc Riolon, 1981
Eden (duo), réalisation de Jacques Kerhuel et Luc Riolon, 1986
Cortex, réalisation de Luc Riolon, 1991
Ram Dam, réalisation de Luc Riolon, 1995
Points de fuite, réalisation de Luc Riolon, 2001
Films chronophotographiques d’Étienne-Jules Marey et Georges Demenÿ, 1889-1893
Répétitions d’Umwelt, Centre chorégraphique national de Rillieux-la-Pape, réalisation de Xavier Baert, la Cinémathèque de la danse, 2006
Umwelt, Conception, exploration scénique de Maguy Marin, 2004

 

Carte blanche à Lia Rodrigues

Based in the Maré favela in Rio de Janeiro, the Companhia de danças Lia Rodrigues has created an intensely political body of work rooted in the real world. Minimalist forms, the product of a desire for simplicity and the absence of the spectacular, and the simplest materials – a large piece of plastic, ketchup, flour – become the tools for a representation of violence, and also an exploration of what a community is, through works in which the spectators can take part. The sequences from the works of Lia Rodrigues that make up this montage are juxtaposed with performances that have rarely if ever been seen in Europe. There are also glimpses of her collaborations with the artists Tunga and Gérard Fromanger.

Contre ceux qui ont le goût difficile, 2006, realisation du CN D
Ce dont nous sommes faits, 200, realisation du CN D
Pororoca, 2009, realisation de Charles Picq
Pindorama, 2013, realisation de la Lia Rodrigues Companhia Danças
Pour que le ciel ne tombe pas, 2016, montage by Sammi Landweer
Incarnat, 2005, realisation du CN D

 

Carte blanche à Salia Nï Seydou

Un pas de côté, chorégraphie de Salia Sanou et Seydou Boro, 2006
Figninto, chorégraphie de Salia Sanou et Seydou Boro, 1997
Weeleni chorégraphie de Salia Sanou, Ousseni Sako et Seydou Boro, 2002
Les lieux de là, chorégraphie de Mathilde Monnier, 1998
Poussières de sang, chorégraphie de Salia Sanou et Seydou Boro, 2008
Un carré/piste, chorégraphie de Salia Sanou, extrait de Djama Buren Cirque (49 carrés/pistes), 2008
Je suis venu, j’ai vu et j’ai mâché des malabars, chorégraphie de Robyn Orlin, 2008
Extraits de rushes issus d’un documentaire en cours de production de Julie Binet et Ruxandra Annonier, filmé en 2008
Black!... White?, chorégraphie de Nelisiwe Xaba, 2009
Paso doble, chorégraphie de Miguel Barcelo et Josef Nadj, 2006
Fela ! A new musical based on the life and music of Fela Anikulapo Kuti, chorégraphie de Bill T. Jones, 2008
La Valse de Vaslav, hommage à Nijinski chorégraphie de Mark Tompkins, 1989
Extrait d’Hommages, Sindi, Shut up, d’Ousseni Sako, 2004

 

Solos, Carte blanche à Robyn Orlin

This montage features solos by Sophiatou Kossoko, Seydou Boro, Vera Mantero and Ibrahim Sissoko, demonstrating how humour can be used as a political weapon and costume as a way of exploding archetypes.

Concours d’Isicathamiya à Johannesburg, réalisation de Robyn Orlin, 2007
Dressed to kill… killed to dress…, 2008
Daddy, I’ve seen this piece 6 times before and I still don’t know why they’re hurting each other, 1998
Hey Dude… I have talent… I’m just waiting for God…, 2005
Beautés cachées, sales histoires, réalisation de Robyn Orlin, 2004
Babysitting Petit Louis, réalisation de Philippe Lainé, 2008
Sors, conception et interprétation de Pedro Pauwels, chorégraphie de Robyn Orlin, 2013
The Future may be bright, but it’s not necessarily orange, 2002
Je suis venu… J’ai vu… J’ai mâché des malabars…, 2008
Call it… kissed by the sun… better still the revenge of geography…, 2010
Although I live inside… my hair will always reach towards the sun…, 2004