Great dance lesson with Murray Louis
Grande leçon Murray Louis
Great dance lessons are a means for discovering the practice and the theory of a specific teaching, the universe of a “master”, pedagogical approaches and different aesthetics. The public is invited to participate, in close-up, in the work of professional dancers in a way that has never been seen before.
« Nik was like an oak tree. All sorts of trees that produce different seeds exist in nature. Some […] fall close to the tree and reproduce the same tree whilst others are carried further away, create their own life and are different. Nikolais ensured that his seeds would find their own path, that they would not remain in his neighbourhood and that they would not copy him. [...] he asked [them] to use the clear vocabulary that he had created to enlighten the Art of Dance. He, himself, did not stick to his own tracks and made sure he journeyed on the path that was moving, that his soul told him to follow… »
Murray Louis in « Le Prisme Nikolais », Théâtre de la Ville, Paris, 2004
Updating: February 2012
« Murray Louis, Fuchs M., so called (born in 1926). American dancer, choreographer and pedagogue. Born into a family of modest origin, he grew up in New York. In 1946, he joined Anna Halprin in San Francisco who guided him towards Hanya Holm. In 1949, he met Alwin Nikolaïs: their partnership of over fifty years has been the key to their success. After studying at the “Henry Street Playhouse”, he was in charge of children's lessons and, whilst pursuing his university studies, rapidly established himself as a soloist, with a rare mastery of body control, for Nikolais. He began to choreograph very early in his career, working first of all with Nikolais' dancers such as P. Lamhut and G. Bailin, before going freelance in 1969.
An incredible pedagogue, he helped his companion develop his teaching. In 1989, the two companies merged to create the Nikolais and Murray Louis Dance Company, which he has been directing alone since 1993, when his master passed away.
Author of over one hundred pieces, he has developed a distinctive, frequently humorous style (Junk Dances, 1964), and can be set apart from Nikolais by the priority he has given to dancers and by his eclectic musical choices (classical, jazz, electronic). He has explored pure movement and abstraction and has assessed himself intensively in his solos such as “Chimera” (1966) and “Déjà Vu” (1977), attaining the fullness of his art with his company (“Porcelain Dialogues”, 1974; “Schubert”, 1977). The European public discovered him in “Hoopla” and compared him to Marcel Marceau.
Critically acclaimed and regularly honoured, he has toured the world and has created for J. Limón, R. Noureev, the Royal Danish Ballet and the Batsheva Dance Company, among others. In his essays “Inside Dance” (Saint Martin's Press, 1980) and “On Dance” (A Cappella Books, 1992), he emerges as a strong and rational defender of his profession. »
Marc Lawton, in « Dictionnaire de la danse », Larousse, 1999
Last update : February 2012
Centre national de la danse, Réalisation
Grande leçon de danse de Murray Louis
Artistic direction / Conception : Intervenant Murray LOUIS
Artistic direction assistance / Conception : Assistant de Murray LOUIS Alberto DEL SAZ
Interpretation : Véronique BAUER, Christine GERARD, Catherine LANGLADE, Philippe PRIASSO, Pascale RAYGASSE, Manuelle ROBERT, Patrick ROGER
Other collaborations : Traducteur Marc LAWTON
Genesis of work
Genesis of work
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff
Discovery of improvisation’s specificities in dance.
Dominique Bagouet a créé plus de 45 pièces en 15 ans. Certaines ont marqué le paysage chorégraphique entre 1980 et 1992, année de sa disparition. Cette collection montre les œuvres les plus emblématiques et s’enrichit au fur et à mesure de films liés à la transmission de son répertoire grâce au travail mené par l’association Les Carnets Bagouet créée par ses interprètes après sa disparition.
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.