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Conditions générales d'utilisation

Les présentes conditions générales d’utilisation (ci-après « CGU ») ont pour objet l’encadrement juridique des modalités d’utilisation du présent site et de ses contenus ainsi que des relations entre le Centre national de la danse et l’utilisateur (ci-après, « vous » ou « l’utilisateur »).

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  • exhibition

Lucinda Childs — subverting the frame

06.14.26 > 01.03.27

/

Frac Franche-Comté, Besançon
  • professional meeting
  • plan D CN D X MC93

Upending norms: metamorphic, emancipatory and resisting dances

11.20.26

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MC93 — maison de la culture de Seine-Saint-Denis, Bobigny
  • professional meeting

Café de l'EAC

11.06.26

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Online

Formation sur mesure

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“Legong Playon", a traditional Balinese dance

by Yoko Sobue

A Benesh notation transcription of a Balinese dance from the village of Teges Kanginan which is danced by royal families and which developed at the end of the Dutch colonial period; it nowadays is performed during rituals. Gunung Jati will lead the session.

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Digitizing and publishing the Laban Dictionary of Kinetography (Labanotation) by Albrecht Knust online

by Mónika Éva Lisztes

Presentation of the digitizing process of the almost 300 entries of the Dictionary of Kinetography Laban, translated into English in 1979 and in French in 2011, which allows to navigate between the sections and sub-sections, do text research, etc…

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Following Red Notes: looking for its Laban kinetographic translation

by Noëlle Simonet, Vincent Lenfant

Presentation of the Laban kinetographic transcription of Red Notes, a choreography by Andy De Groat created in 1977 with 10 dancers, which was recently reprised by young dancers from the Nantes conservatory as part of their training, and whose composition, based on interactions and improvisation, features interesting notational challenges.

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D.E.G.A.S. (danse écriture du geste et son approche systémique), Dance, Systems, and Writing Gestures

by Christophe Duveau-Villéger

This session will present a selection of documents (scores and pedagogical notebooks) about Wilfride Piollet’s “flexible barres” (barres flexibles), which sought to replace the systematic use of the mirror and the barre in class by the development of greater body awareness about gravity and the interconnectedness of the various points of the body.

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Graphic representations of movement through the dance libretto for Pierre et le loup

by Marie Orts, Lina Schlageter, Garance Bréhaudat, Clarisse Chanel

Realization of a dance libretto for Pierre et le loup, a piece by Dominique Brun, based on Labanian graphic research which offers adult and young audiences the tools to fully grasp what they see when they watch a dance performance.

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James Waring’s Choreographic Collages

by Jean Capeille

A critical exploration of the archival collection of American choreographer and collage artist James Waring (1922-1975), whose composition classes were attended by future members of the Judson Church Theater, and a discovery of a choreographic practice which will change our perspective on American abstraction.

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