Maguy Marin was born in Toulouse in 1951 and studied dance at the conservatory there before joining the Strasbourg Ballet. In 1970 she was accepted at Maurice Béjart’s school Mudra, where she stayed three years before becoming a soloist (for four seasons) with the Ballet of the 20th Century, under the direction of Maurice Béjart. A turning point would come at the end of this period seeing her shed all her previously held conceptions “allowing a multitude of creative choices, liberty and also constraints to emerge. Nothing was ever the same”. She also began questioning the body types idealized within the dance world, a subject that would become central in her work. “With Maurice Béjart the body was magnified. Youth, virtuosity, everything sparkled. And I had a problem with that. I asked myself what happened to all those other bodies, the ones that were infirm, misshapen or uncoordinated, but who managed to keep standing nonetheless.” 

Between 1980 and 1997 Maguy Marin was based at the Maison des arts in Créteil, with her company becoming an official Choreographic Centre in 1985. 

From 1998 until 2011 she directed the National Choreographic Centre in Rillieux-la-Pape. After which time the company once again became independent, setting up in Toulouse in order to continue their creative research. In 2015 the company moved again, this time to Sainte Foy-lès-Lyon, where they set up in an old carpentry factory. Their tenure there would allow them to continue to open up the immaterial space of that which is shared, something that obstinately seeks to make itself manifest while encouraging the unfolding of a new ambitious project: RAMDAM, AN ART CENTRE. It is a place of horizontal sharing, dedicated to hosting artists and audience members alike. It is also a place intent on facilitating an on-going exchange and continuous circulation between those conducting research, amateurs, students, spectators and volunteers; as well as creating bridges between different artistic practices, laboratories, places for public relations, education and reflection. 

- 1978: Grand Prix du Concours chorégraphique international de Bagnolet - 2003: Grand Prix de la danse du Syndicat de la critique for
Les applaudissements ne se mangent pas
- 2003: American Dance Festival Award 

- 2006: Special jury prize Syndicat de la critique for Umwelt
- 2008: Bessie Award for Umwelt presented at the Joyce Theater
- 2008: Grand Prix de la danse du Syndicat de la critique for Turba
- 2011: Prix Danza & Danza for “Best Contemporary Dance Piece » for Salves - 2016: Golden Lion, Venice Biennale 

More information : compagnie-maguy-marin.fr

After a trip to New York in which he discovered the work of Merce Cunningham, Lucinda Childs, Steve Paxton, Trisha Brown, Stuart Sherman and Yvonne Rainer, Jean-Claude Gallotta – with Mathilde Altaraz – founded the Émile Dubois Group in Grenoble in 1979, which, in 1981, joined the Grenoble Arts Centre as a dance creation unit. This was where Ulysse was born, a playful ballet using both classical and modern vocabularies.

The Émile Dubois Group became the National Choreographic Centre and took up Ulysse again in 1984 for the Olympic Games Festival in Los Angeles, the American Dance Festival, the Holland Festival and the Avignon Festival.

This was followed by: Les Aventures d’Ivan Vaffan, Les Louves and Pandora. In 1986, Jean-Claude Gallotta was asked to be the director of the Grenoble Arts Centre – renamed “Le Cargo” -, thereby becoming the first choreographer to be appointed to run this type of institution.

In 1987, the ballet Mammame was performed at the Montreal International Festival of New Dance: the Canadian press (dance and theatre) awarded him the prize for the Best Foreign Performance of the Year. In 1989, after some ten audiovisual collaborations with, for example, Claude Mouriéras and Raoul Ruiz, Jean-Claude Gallotta produced his first full-length film: Rei Dom – La Légende des Kreuls. This was followed by Docteur Labus and Les Mystères de Subal. 

Jean-Claude Gallotta then resigned as director of the Grenoble Arts Centre and published his first book, Mémoires d’un dictaphone.

During the 1991-1992 season, two choreographic creations combining dance, words and music were performed: La Légende de Roméo et Juliette, performed in November 1991 for the Albertville Olympic Arts Festival, and La Légende de Don Juan, performed in June 1992 for the Universal Exhibition in Seville, as a joint production with the Avignon Festival. Jean-Claude Gallotta then shot his second full-length film: l’Amour en deux.

1993: publication of Les Yeux qui dansent (interviews with Bernard Raffalli).
  In July of the same year, Jean-Claude Gallotta recreated Ulysse at the Châteauvallon Festival. This was followed by a long international tour.

1994: Prémonitions, a new choreography created in Grenoble. 1995: at the request of ‘Lyon Opéra Ballet’, Jean-Claude Gallotta composed La Solitude du danseur, four solos performed to music by Erik Satie. Gallotta then worked with Nicholas Hytner and Sir Charles Mackerras to produce La Petite Renarde Rusée, an opera by Leos Janacek, performed by the Théâtre du Châtelet.

At the Châteauvallon Festival, Jean-Claude Gallotta choreographed and performed the solo Hommage à Pavel Haas. In Grenoble, he created La Tête contre les fleurs for the company. This was followed in 1996 by Rue de Palanka, and in 1997, La Rue (an event for 3,000 spectators) and the creation of La Chamoule ou l’Art d’aimer.

A longstanding collaboration was set up with Japan, at the invitation of the director Tadashi Suzuki: from 1997 to 2000, Jean-Claude Gallotta ran the dance department at the new Shizuoka Performing Arts Centre, training and directing a permanent company of eight Japanese performers. In 1998, Jean-Claude Gallotta also directed Le Ventriloque by Jean-Marie Piemme and Le Catalogue by Jean-Bernard Pouy, and wrote Pierre Chatel for “l’Adieu au siècle”.

Jean-Claude Gallotta created Les Variations d’Ulysse for the Paris Opera Ballet, which was performed at the Opéra Bastille in 1995, and repeated in 1998. He also created Nosferatu in May 2002 to music by Pascal Dusapin; the ballet was performed again in spring 2006 at the Opéra Bastille.

In 1999, he created Presque Don Quichotte at the Douai Hippodrome; the piece was also performed in Shizuoka, Japan. In 2000, he created l’Incessante, a solo for Mathilde Altaraz, at the Avignon Festival as part of Le Vif du Sujet. In 2001, he created Les Larmes de Marco Polo for the Lyon International Biennial.

In 2002, he created 99 duos at the Chaillot National Theatre, the first part of a trilogy on ‘People’. In 2003, he prepared Trois générations for the Avignon Festival, which was eventually cancelled. The piece, which includes children, former dancers and the Company, was performed at the Rampe d’Echirolles in March 2004.

It was performed in May of the same year at the Chaillot National Theatre and was repeated in November 2005. The same year, he worked with the director Hans-Peter Cloos to produce a show combining dance, theatre and music, Les sept pechés capitaux by Bertolt Brecht and Kurt Weill. In 2006, he created Des Gens qui dansent, the third part of the trilogy initiated by 99 duos and Trois Générations and, in 2007, he repeated his flagship piece from the 80s, Ulysse, under the title Cher Ulysse.

In 2008, Bach danse experience with Mirella Giardelli and “L’Atelier des Musiciens du Louvre”; Armide by Lully with the conductor William Christie and the director Robert Carsen at the Théâtre des Champs-Elysées, Paris; Chroniques chorégraphiques - season 1, a sort of “stage movie” that allowed him to pursue his poetic research into genres and people.

In 2009, he created l’Homme à tête de chou, with the original words and music by Serge Gainsbourg in a version recorded for the show by Alain Bashung. In April 2011, he performed a solo with Faut qu’je danse ! as a prelude to the recreation of his trio Daphnis é Chloé in Grenoble.

In October 2011, again in Grenoble and with a piece for thirteen dancers, he took on Igor Stravinsky’s Le Sacre du printemps, which he presented in April 2012 at the Chaillot National Theatre, Paris, along with Tumulte and Pour Igor in the first part.

At the end of 2012, he is to present Racheter la mort des gestes - Chroniques chorégraphiques 1 at the Théâtre de la Ville, then at MC2; in early 2013, his recreation of Yvan Vaffan (first performed in 1984) will enable him to continue his work on the repertoire, alternating with his creations and thereby pleading for a certain “continuity in art” and seeking patiently to share with his audience the same story: the story of a shared artistic history and future.

In October 2013, he directed the singer Olivia Ruiz in El Amor Brujo byManuel de Falla, a piece presented together with Stravinsky’s The Soldier’s Tale, a show on which he worked together with the conductor Marc Minkowski and the director Jacques Osinski.

For the 2014-15 season, he presented The Rite and its Revolutions (including the first performance of Xenakis’s Jonchaies and Six Pieces for Orchestra, op. 6 by Webern (Homage to Angela Davis) at the Philharmonie de Paris, and in June he gave the first performance of The Stranger, based on the novel by Albert Camus at the MC2 in Grenoble.

He is opening the 2015-2016 season with My Rock at the MC2 in Grenoble, and at the Théâtre du Rond-Point in Paris.

In 2009, he adapted Serge Gainsbourg's album l'Homme à tête de chou (performed for the occasion by Alain Bashung), created with singer Olivia Ruiz, Volver, presented in 2016 at the Biennale de la danse de Lyon; he also worked on rock figures with My Rock (2004) then My Ladies Rock (2017). In September 2017, the Adami, Maison des artistes interprètes and the Théâtre du Rond-Point gave him carte blanche to stage two exceptional evenings around the work of Bob Dylan, with performers from all disciplines, including the group Moriarty.

Since the end of 2015, Jean-Claude Gallotta has been associate author at the Théâtre du Rond-Point in Paris. The Groupe Émile Dubois is housed at the MC2: Grenoble.

In September 2018, he presented Comme un trio, based on Bonjour Tristesse by Françoise Sagan, and the re-creation of l'Homme à tête de chou at the Printemps de Bourges festival in April 2019. He is preparing a new creation for the autumn of 2020, entitled Le Jour se rêve, with musician Rodolphe Burger and visual artist Dominique-Gonzalez Foerster.

More information : www.gallotta-danse.com

(1947-2019)

Andy De Groat was born in 1947 in the United States into a family of Dutch, Italian, French, German and English origins. Whilst studying at the New York School of Fine Art in 1967, he met the director Robert Wilson. He joined his troupe as a dancer, then as a choreographer for all the productions from Deafman Glance in 1971, A Letter for Queen Victoria in 1974 to Einstein on the Beach in 1976, created for the Avignon Festival.
In 1981, he received a grant from the Guggenheim Foundation in New York for his choreographic research.
He created new works in succession for red notes, including several for Jean Guizerix, Wilfride Piollet, Jean-Christophe Paré, the Choreographic Research Group of the Opera of Paris (GRCOP), the Scala in Milan, Ris et Danceries, the Ballet du Nord (Roubaix) and Wah Loo Tin Tin Co, a Montauban-based company of young performers.

Today, his work totals over sixty creations that have been presented in around twenty countries and periodically goes back to questioning the repertoire and the heritage of dance.

His company has worked regularly on lyrical productions since 1988, in particular on "The Magic Flute" (Mozart), with Robert Wilson at the Opera Bastille, Paris, "The Rake's Progress" (Stravinsky), with Alfredo Arias for the Aix-en-Provence Festival of Lyric Art and at the Operas of Lyon, Gênes and Montpellier, "Aida" (Verdi) and Klaus Michael Grüber at the Amsterdam Opera.

Source : website of the Centre national de la danse (CND, Pantin)