An extract remodelled by the company De l’Air dans l’Art (Longjumeau), artistic managers Ghislaine Tétier and Philippe Chevalier as part of the “Danse en amateur et repertoire” programme (2016) (a programme created to assist and promote amateur dancing).

The group
In 2008, Ghislaine Tétier, a teacher and choreographer, started up the company l’Air dans l’Art in Longjumeau (91). The group brings together amateurs and students in connection with the Paris-Sud-Orsay University. It has already carried out many recreations of works such as Rien ne laisse présager de l’état de l’eau by Odile Duboc in 2009, and Jours étranges by Dominique Bagouet in 2013. Ghislaine Tétier also stages her own works with the company consisting of some twenty dancers. 

The project
Remodelling an extract from Set and Reset (1983) is not merely learning steps in the spirit of Trisha Brown’s work. The aim is, alongside the danced phrases, to incorporate the composition process of the American choreographer while surfing on the rules of the game like “remain simple, play with visibility and invisibility, stay on the edge of the stage or act instinctively…”

For the group’s dancers, this challenge confronting improvisation and writing was one of the reasons for their choice. Romain Panassié and Fabien Monrose, notators, transmit the keys of gestural production according to the self-named “abstraction locomotive”. 

The choreographer
The American choreographer Trisha Brown (1936-2017), at the head of the Trisha Brown Dance Company since 1970, enjoyed an exceptional career starting in the 1960s. After a passage through post-modern performance and experimentation and then through pure writing for the theatre black box and opera staging, this woman of character also carved out a flexible and sharp-edged writing style with swing and complexity, which “uses democratically all parts of the body”. Collaborator with the visual artists Robert Rauschenberg and Donald Judd, she leaves behind her a key legacy, in which her vigorous imagination has never ceased to contaminate the new generations. 

(1936-2017)

Trisha Brown (Founding Artistic Director and Choreographer) was born and raised in Aberdeen, Washington. She graduated from Mills College in Oakland, California in 1958; studied with Anna Halprin; and taught at Reed College in Portland, Oregon before moving to New York City in 1961. Instantly immersed in what was to become the post-modern phenomena of Judson Dance Theater, her movement investigations found the extraordinary in the everyday and challenged existing perceptions of performance. Brown, along with like-minded artists, pushed the limits of choreography and changed modern dance forever. 

In 1970, Brown formed her company and explored the terrain of her adoptive SoHo making Man Walking Down the Side of a Building (1970), and Roof Piece (1971). Her first work for the proscenium stage, Glacial Decoy (1979), was also the first of many collaborations with Robert Rauschenberg. Opal Loop/Cloud Installation #72503 (1980), created with fog designer Fujiko Nakaya, was followed by Son of Gone Fishin’ (1981), which featured sets by Donald Judd. The now iconic Set and Reset (1983), with original music by Laurie Anderson and visual design by Robert Rauschenberg, completed Brown’s first fully developed cycle of work, Unstable Molecular Structure. This cycle epitomized the fluid yet unpredictably geometric style that remains a hallmark of her work. Brown then began her relentlessly athletic Valiant Series, best exemplified by the powerful Newark (1987) and Astral Convertible (1989) – pushing her dancers to their physical limits and exploring gender-specific movement. Next came the elegant and mysterious Back to Zero cycle in which Brown pulled back from external virtuosity to investigate unconscious movement. This cycle includes Foray Forêt (1990), and For M.G.: The Movie (1991). Brown collaborated for the final time with Rauschenberg to create If you couldn’t see me (1994), in which she danced entirely with her back to the audience. 

Brown turned her attention to classical music and opera production, initiating what is known as her Music cycle. Choreographed to J.S. Bach’s monumental Musical Offering, M.O. (1995) was hailed as a “masterpiece” by Anna Kisselgoff of the New York Times. Brown continued to work with new collaborators, including visual artist Terry Winters and composer Dave Douglas, with whom she created El Trilogy (2000). She then worked with long-time friend and artist, Elizabeth Murray to create PRESENT TENSE (2003) set to music by John Cage. 

Brown stepped into the world of opera to choreograph Carmen (1986) and again to direct Claudio Monteverdi's L’Orfeo (1998). Since then, Brown has gone on to direct four more operas, including, Luci Mie Traditrici (2001), Winterreise (2002), and Da Gelo a Gelo (2006) and most recently, Pygmalion (2010). 

Continuing to venture into new terrain, Brown created "O zlożony/O composite" (2004) for three étoiles of the Paris Opera Ballet, working with long-time collaborators Laurie Anderson and Jennifer Tipton. Forays into new technology created the witty and sophisticated I love my robots (2007), with Japanese artist and robotics designer Kenjiro Okazaki. Her work with Pygmalion produced two dance pieces "L’Amour au théâtre" (2009) and "Les Yeux et l'âme" (2011). Brown’s last work, I’m going to toss my arms- if you catch them they’re yours (2011), is a collaboration with visual artist Burt Barr, whose striking set is dominated by industrial fans. The original music is by Alvin Curran. 

As well as being a prolific choreographer, Brown is an accomplished visual artist, as experienced in "It’s a Draw" (2002). Her drawings have been seen in exhibitions, galleries and museums throughout the world including the Venice Biennale, The Drawing Center in Philadelphia, The New Museum, White Cube, Documenta XII, Walker Art Center, Centre Georges Pompidou, Mills College, Musée d'art Contemporain de Lyon, and Museum of Modern Art. Brown is represented by Sikkema Jenkins & Co. in NYC. 

Trisha Brown has created over 100 dance works since 1961, and was the first woman choreographer to receive the coveted MacArthur Foundation Fellowship “Genius Award.” She has been awarded many other honors including five fellowships from the National Endowment for the Arts, two John Simon Guggenheim Fellowships, Brandeis University’s Creative Arts Medal in Dance, and she has been named a Veuve Clicquot Grande Dame. In 1988, Brown was named Chevalier dans l’Ordre des Arts et Lettres by the government of France. In January 2000, she was promoted to Officier and in 2004, she was again elevated, this time to the level of Commandeur. She was a 1994 recipient of the Samuel H. Scripps American Dance Festival Award and, at the invitation of President Bill Clinton, served on the National Council on the Arts from 1994 to 1997. In 1999, Brown received the New York State Governor’s Arts Award and, in 2003, was honored with the National Medal of Arts. She had the prestigious honor to serve as a Rolex Arts Initiative Mentor for 2010-11 as well as receiving the S.L.A.M. Action Maverick Award presented by Elizabeth Streb, and the Capezio Ballet Makers Dance Foundation Award in 2010. She has received numerous honorary doctorates, is an Honorary Member of the American Academy of Arts and Letters, and was awarded the 2011 New York Dance and Performance ‘Bessie’ Lifetime Achievement Award. In 2011, Brown was honored with the prestigious Dorothy and Lillian Gish Prize for making an “outstanding contribution to the beauty of the world and to mankind’s enjoyment and understanding of life.” In 2012, Brown became a United States Artists Simon Fellow and received the first Robert Rauschenberg Award from the Foundation of Contemporary Arts. She was recently honored with the BOMB Magazine Award. 

Source : Trisha Brown Dance Company 's website

Trisha Brown passed away on March 18, 2017 in San Antonio, Texas.

More information

trishabrowncompany.org

From live stage images to life in images, the  director and video artist Karim Zeriahen seems to have found the  shortest way. Since the beginning of the 90s, when he worked in close  relationship with choreographer Philippe Decouflé, he learned how to put  the art of stage in motion, contemporary dance most of the time. Karim  Zeriahen then starts a fruitful collaboration with Montpellier based  choreographer Mathilde Monnier. Stop, Videlilah, day of night, short  films adapted from her stage creations. Each time, Karim Zeriahen's   camera takes over the place with movement, the body language is not  frozen but magnified. Choreographer Herman Diephuis also joins this  gallery of dancing portraits. Documentaries on figures such like Albert  Maysles or Hubert de Givenchy and from Joe Dalessandro to Paul  Morrissey, he sets a signature, a camera always in action with  confidence.

Today the director goes further with a new  project and tracks the subtle movements of the body language beyond the  physical appearance. A collection of living portraits as unique pièces  reminding us of the master portraitists of renaissance. These living  natures consists in filming the subject in a certain amount of time,  almost still, with signs of respiration, eye blinks, as if it were  posing for a painting. They are then displayed on a flat screen with a  memory card. With this collection starting, Karim Zeriahen, with his  documentary and artist vision, interrogates himself about the virtual  world filled with images. By taking a pause, and his models with him, he  questions the way we look at things, the way we look at life.

Source: Philippe Noisette 

En savoir plus: www.karimzeriahen.com

Danse en amateur et répertoire est un programme d’accompagnement de la  pratique amateur au-delà du cours de danse et de la phase  d’apprentissage technique. Destiné à des groupes de danseurs amateurs,  il ouvre un espace de partage pour ceux qui désirent approfondir une  pratique et une connaissance de la danse en relation avec son histoire.

Laurent Barré
Responsable du service Recherche et Répertoires chorégraphiques
Anne-Christine Waibel
Assistante du service Recherche et Répertoires chorégraphiques
+33 (0)1 41 83 43 96 
danse-amateur-repertoire@cnd.fr

Source : CN D

En savoir plus : https://www.cnd.fr/fr/page/323-danse-en-amateur-et-repertoire-programme-d-aide