Tauride
1992
Choreographer(s) : Diverrès, Catherine (France)
Present in collection(s): CNDC - Angers
Video producer : CNDC Angers;Théâtre de la Ville;Centre de production chorégraphique – Orléans;Théâtre national de la danse et de l'image – Châteauvallon;Studio DM
Tauride
1992
Choreographer(s) : Diverrès, Catherine (France)
Present in collection(s): CNDC - Angers
Video producer : CNDC Angers;Théâtre de la Ville;Centre de production chorégraphique – Orléans;Théâtre national de la danse et de l'image – Châteauvallon;Studio DM
Tauride
First produced 1992/
New French Dance had many different ways of putting into practice the way it resonated with its time. While certain choreographers cultivated the trends in attitudes, lifestyle and expression which made up the spirit of the age, others showed a much more political preoccupation. Catherine Diverrès began work on her piece Tauride in the autumn of 1991, as the war in Yugoslavia was flaring up, leaving Europe dumbfounded faced with the resurgence of ethnically-based atrocities on its territory. Dumbfounded and too passive in the eyes of the choreographer, who looked to Aeschylus to set out a tragic view of humanity, where dance meets literary text and philosophy. Each of the eleven performers is cast as a tragic hero, and a cinematographic-style montage telescopes the gaping voids and manifestations that animate the diverse theatre of spaces and mental images that ensue. Devised during a residence at CNDC Angers, this work is recognised as a defining moment in contemporary choreography.
Source: Gérard Mayen
Diverrès, Catherine
Catherine Diverrès has said, “Conscience, our relationship with others, this is what creates time”, ever since her first choreographic creation. She is a sort of strange meteor, appearing in the landscape of contemporary dance in the mid-80’s. She stood out almost immediately in her rejection of the tenets of post-modern American dance and the classically-based vocabularies trending at that time. She trained at the Mudra School in Brussels under the direction of Maurice Béjart, and studied the techniques of José Limón, Merce Cunningham and Alwin Nikolais before joining the company of Dominique Bagouet in Montpellier, then deciding to set out on her own choreographic journey.
Her first work was an iconic duo, Instance, with Bernardo Montet, based upon a study trip she took to Japan in 1983, during which she worked with one of the great masters of butoh, Kazuo Ohno. This marked the beginning of the Studio DM. Ten years later she was appointed director of the National Choreographic Center in Rennes, which she directed until 2008.
Over the years, Catherine Diverrès has created over thirty pieces, created her own dance language, an extreme and powerful dance, resonating with the great changes in life, entering into dialogues with the poets: Rilke, Pasolini and Holderlin, reflecting alongside the philosophers Wladimir Jankelevich and Jean-Luc Nancy, focusing also on the transmission of movement and repertoire in Echos, Stances and Solides and destabilising her own dancing with the help of the plastician Anish Kapoor in L’ombre du ciel.
Beginning in 2000, she began adapting her own style of dance by conceiving other structures for her creations: she improvised with the music in Blowin, developed projects based on experiences abroad, in Sicily for Cantieri, and with Spanish artists in La maison du sourd. Exploring the quality of stage presence, gravity, hallucinated images, suspensions, falls and flight — the choreographer began using her own dance as a means of revealing, revelation, unmasking, for example in Encor, in which movements and historical periods are presented. Diverrès works with the body to explore the important social and aesthetic changes of today, or to examine memory, the way she did in her recent solo in homage to Kazuo Ohno, O Sensei.
And now the cycle is repeating, opening on a new period of creation with the founding of Diverrès’ new company, Association d’Octobre, and the implantation of the company in the city of Vannes in Brittany. Continuing on her chosen path of creation and transmission, the choreographer and her dancers have taken on a legendary figure, Penthesilea, the queen of the Amazons, in Penthésilée(s). In returning to group and collective work, this new work is indeed another step forward in the choreographer’s continuing artistic journey.
Source: Irène Filiberti, website of the company Catherine Diverrès
More information: compagnie-catherine-diverres.com
Tauride
Choreography : Catherine Diverrès
Interpretation : Lluis Ayet Puigarnau, Thierry Baë, Fabrice Dasse, Katja Fleig, Olivier Gelpe, Anne Koren, Vera Mantero, Bernardo Montet, Marie-Hélène Mortureux, Rita Quaglia, Giuseppe Scaramella
Set design : Jean Haas, assisté de Jacques Bourgoin
Text : Jean Giraudoux, Hugo Von Hoffmenstbal
Additionnal music : Z. Bartos, Fred Frith, Iannis Xenakis, Arnold Schönberg
Lights : Pierre-Yves Lohier
Costumes : Cidalia Da Costa, assistée de Manon Martin / Masques : Daniel Cendron
Sound : Lluis Ayet Puigarnau, Bernardo Montet, Denis Gambiez
Other collaborations : Voix : Kazuo Ohno, Anne Koren (lisant Jean Giraudoux et Hugo Von Hoffmenstbal), Vladimir Jankelevitch / Cinéaste : Téo Hernandez
Production / Coproduction of the choreographic work : Coproduction CNDC Angers, Théâtre de la Ville, commande du Centre de production chorégraphique – Orléans, Théâtre national de la danse et de l'image – Châteauvallon, Studio DM
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