02 > 05.12.24
CN D Pantin
How to reconcile artistic choices with the technical requirements of a venue? How can we best grasp some basic technical knowledge to avoid misunderstandings between the various players involved in the production of a show? When you're a choreographer or in charge of production, how do you know how to adapt the scenic layout, find alternatives and calibrate your requirements according to the stage, backstage or relationship with the audience? The CN D opens its studios and technical facilities to train artists and show business professionals in the ever-changing technical challenges of hosting an artistic project in a venue. One of the aims of this training course is to break out of the sometimes tense dialogue between production teams and choreographers, and mobilize effective resources from technical teams based at creative venues. Anticipation, communication, knowledge of the technical professions and current standards are all necessary conditions for a fluid and constructive link, so that a show can be presented in the best possible conditions and redesigned to suit the stage. Artistic, budgetary, technical and legal issues are all intertwined and must coexist serenely.
Sallahdyn Khatir
Since 2003, Sallahdyn Khatir has designed Claude Régy's Comme un Chant de David (2003), Ode Maritime (2009), Brume de Dieu (2010), La Barque le Soir (2012) and, more recently, Maurice Maeterlinck's Intérieur (2013), premiered in Shizuoka, Japan, Rêve et Folie (2016). He designed the scenography for Julia Cima's Visitations in 2005, the sets for Thomas Ferrand's Mon Amour and Une excellente pièce de danse, as well as Rachid Ouramdane's Polices (2013), Aude Lachaise's En souvenir de l'indien (2015), Thibaud Croisy's Un homme qui ne voulait pas en castrer un autre (2016) and Thibaud Croisy's La prophétie des Lilas (2017), Aujourd'hui by Aurélia Ivan (2018), 4x100m by Cécile Loyer, FOFO by Ana Rita Teodoro en (2019), D'où vient ce désir by Thibaud Croisy (2020), A D-N and TOP by Régine Chopinot (2021), EN/VIE performance installation Mondes Nouveaux by Aurélia Ivan & Sallahdyn Khatir (2022), Si la voiture est fétiche, l'accident ne l'est pas by Aurélia Ivan (2023), Grand Palais by Pascal Kirsch (2023). For several years, he was also assistant and technical coordinator for several visual artists at the Festival d'Automne à Paris, working for Bill Viola, Ernesto Neto, Alexandre Ponomarev, Gérard Garouste, Nan Goldin, Anish Kapoor, Douglas Gordon, Tadashi Kawamata, Christian Marclay, Martin Puryear, Amselm Kieffer and Ugo Rondinone.
Yves Godin
In the early 1990s, lighting designer Yves Godin worked on projects for numerous choreographers, musicians and visual artists. His approach is based on the idea of light that is not dependent on dance, music or text, but that can resonate with the other components of the scenic act, working around two main axes: the perception of space and time, and the weaving of networked, more or less anachronistic links with the other natures present (body, sound, thought, time). Today, in the fields of dance, performance, theater and music, he collaborates on lighting and/or set design mainly with Olivia Grandville, Boris Charmatz, Vincent Dupont, Thierry Balasse, Pascal Rambert, Jonathan Capdevielle and Gisèle Vienne. At the same time, Yves Godin creates installations and events on and around light. With Point d'orgue, dispositif pour 1000 bougies, he invites artists from other fields to take over his installation, a meeting principle he develops around other devices - Opéra Ampérique and Jardin des Leds.