Atys
2015 - Director : Caroff, Stéphane
Choreographer(s) : Lancelot, Francine (France)
Present in collection(s): Centre national de la danse , CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Atys
2015 - Director : Caroff, Stéphane
Choreographer(s) : Lancelot, Francine (France)
Present in collection(s): Centre national de la danse , CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Atys
Atys’ Sleep solo is a choreography devised by Francine Lancelot to the music of Jean-Baptiste Lully for his opera of the same name, created in 1678. Interpreted on its creation in 1987 by Jean- Christophe Paré, it was transmitted by Béatrice Massin to Gil Isoart. In Lully’s work, he condenses a suspended moment, seemingly timeless, where the poetry of gesture and his caressing tone resonate ideally with those of the music.
Source: programme of the CND
Lancelot, Francine
Francine Lancelot (1929-2003) began learning dance when she was 15 years old. She moved to Berlin in 1954 where she studied under Mary Wigman. Then, in Paris, she worked with Françoise and Dominique Dupuy. At the same time, she studied theatre, mime and acrobatics. She then joined the Théâtre de l’Atelier, where she worked with Pierre Conté and used this opportunity to discover and learn Conté’s dance notation method. She worked as a dancer, choreographer and actress in the Jean Dasté Company in Saint Étienne. From 1964, within the framework of the Musée des Arts et Traditions populaires (French Museum of Popular Arts and Traditions), she compiled traditional dances for the CNRS (French National Scientific Research Centre), under the leadership of Jean-Marie Guilcher. She taught these dances, in particular for the Institut de Musique et de Danses Anciennes (IMDA - French Institute of Historical Dance and Music) founded by Philippe Beaussant.
In 1979, Francine Lancelot met Antoine Geoffroy Dechaume, harpsichordist and musicologist, who would play an influential role in her career. He played, she danced, and everything that she read in books took shape naturally. In 1980, encouraged by Philippe Beaussant and the IMDA, she created the Ris et Danceries Company. She brought together dancers, choreographers and researchers with whom she created a dozen pieces of work, was involved in producing operas, comedies-ballets and, at the same time, managed to reproduce Pécour’s erudite choreographies for current-day audiences and to propose her own creations through a rigorously-studied baroque style. Rudolf Nureyev would recognize the quality of this second knowledge that called for an ever-so delicate balance between a taste for history and personal inventiveness. As such, he invited Francine Lancelot to choreography the "Bach Suite" solo (1984) at the Opéra de Paris, as well as the ballet "Quelques pas graves de Baptiste" (1985).
A dancer, choreographer, notator and innovator, actress and documentarian of traditional dances, Francine Lancelot combined all these skills to breathe life into a whole realm of dance, the Belle Danse. Through her passion, the Belle Danse reappeared as if it were the first time. It had not been seen for centuries. It burst forth from this oblivion. From notation to movement: Francine Lancelot did not just retrace these choreographies, she also produced them, performed them with their originality, their feeling, their life.
Source: The dance company l'Eventail 's website
Caroff, Stéphane
Atys
Choreography : Francine Lancelot
Interpretation : Gil Isoart
Other collaborations : Enregistré au CND le samedi 7 novembre 2015 dans le cadre de Scènes du geste
James Carlès
The committed artist
In all the arts and here especially in dance, the artist sometimes creates to defend a cause, to denounce a fact, to disturb, to shock. Here is a panorama of some "committed" choreographic creations.
The American origins of modern dance: [1930-1950] from the expressive to the abstract
La part des femmes, une traversée numérique
Qudus Onikeku - Reclaim a forgotten memory
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
Indian dances
Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!
DANCE AND DIGITAL ARTS
Black Dance
Why do I dance ?
Artistic Collaborations
Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians
Meeting with literature
Collaboration between a choreographer and a writer can lead to the emergence of a large number of combinations. If sometimes the choreographer creates his dance around the work of an author, the writer can also choose dance as the subject of his text.
Dance and performance
Here is a sample of extracts illustrating burlesque figures in Performances.
Round dance
Presentation of the Round’s figure in choreography.
The Dance Biennale
Female / male
A walk between different conceptions and receptions of genres in different styles and eras of dance.
Dance and visual arts
Dance and visual arts have often been inspiring for each other and have influenced each other. This Parcours can not address all the forms of their relations; he only tries to show the importance of plastic creation in some choreographies.
Arts of motion
Generally associated with circus arts, here is a Journey that will take you on a stroll through different artists from this world.
Contemporary techniques
This Parcours questions the idea that contemporary dance has multiples techniques. Different shows car reveal or give an idea about the different modes of contemporary dancer’s formations.