La danse comme construction et comme combat
2002 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Dupuy, Françoise (France)
Present in collection(s): Centre national de la danse
Video producer : Centre national de la danse
Integral video available at CND de Pantin
La danse comme construction et comme combat
2002 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Dupuy, Françoise (France)
Present in collection(s): Centre national de la danse
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Interview Françoise Dupuy
Dance as construction and combat
Interview with Françoise Dupuy [extract #1] / 2002
In the course of a filmed interview, Françoise Dupuy recalls the difficult post-war years she lived through as an artist ambassador for German dance. She also remembers the urgent need she felt to run an artistic project after the confinement and isolation which accompanied the conflict.
Updating: November 2010
Dupuy, Françoise
This dancer and choreographer founded the Ballets modernes de Paris (1954-1979) with Dominique Dupuy (whom she met while working for Jean Weidt), and the International Contemporary Dance Encounters (1969). Appointed as Dance Inspector at the French Ministry of Culture in 1987, Françoise Dupuy worked to set up the State Diploma and initiate dance in schools. In 1990 she became director of the IFEDEM Danse, which in 1996 became the Paris teaching department of the APCND (Preliminary Association for the National Dance Centre). In 1997 she created and ran, with Dominique Dupuy, the Mas de la Danse, a study and research centre for contemporary dance which operated until 2008. Since then, they have concentrated on arranging their archives, while continuing with stage appearances and teaching.
Active on all fronts – as choreographer, animateur, director of a company, researcher and teacher – Françoise Dupuy has also performed, among others, Jean Weidt's “La Cellule” (1949), Deryk Mendel's “Epithalame” (1958), Dominique Dupuy's “La Femme et Son Ombre” (1968) and Jerome Andrews' “Capture Ephémère”. She has been an associated artist at the Ballet Atlantique Régine Chopinot and choreographed “Paso”, “Visage de Terre”, “Antigone”, “Ana non” and “Eclats”. Her dancing and teaching are marked by Hellerau-Luxembourg, her “choreographic cradle”.
Updated: November 2010
Centre national de la danse, Réalisation
Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).
Entretien Françoise Dupuy
Other collaborations : Entretien conduit par Claire Rousier
Duration : 60 minutes
Western classical dance enters the modernity of the 20th century: The Ballets russes and the Ballets suédois
If the 19th century is that of romanticism, the entry into the new century is synonymous of modernity! It was a few decades later that it would be assigned, a posteriori, the name of “neo-classical”.
James Carlès
Bagouet Collection
Why do I dance ?
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
Roots of Diversity in Contemporary Dance
Modern Dance and Its American Roots [1900-1930] From Free Dance to Modern Dance
At the dawn of the 20th century, in a rapidly changing West, a new dance appeared: Modern Dance. In the United States as in Europe, modern trends emerge simultaneously and intertwine in thier development. Let's dive into the beginnings of American modern dance!
A Numeridanse Story
Outdoor dances
Stage theater and studio are not the only places of work or performance of a choreographic piece. Sometimes dancers and choreographers dance outside.