In “HELL”, Emio Greco and Pieter C.Scholten delve into and explore the components of different forms, fashions, and compositions in dance, and they examine how these might be decoded and interpreted. This research is based on an approach allowing the boundaries of our physical identity to be pushed back. During the composition process, connotations and associations established around the concept of hell are dismantled and broken down to give them new meaning. Greco and Scholten draw their inspiration from the plastic arts, performing arts, music and literature, in particular Dante's “Inferno” and Beethoven's “Fifth Symphony”. By bringing their own interpretation to certain classical works, they shed new light on them and raise real questions about existence.

Source : Maison de la Danse programme

Credits

Chorégraphie Emio Greco | Pieter C. Scholten conception lumières, scénographie et son Emio Greco | Pieter C. Scholten assistante des chorégraphes Bertha Bermudez Pascual lumièresHenk Danner costumes Clifford Portier musiques montage avec entre autres l'«Allegro con brio» de la Cinquième Symphonie de Beethoven remerciement spécial à Joost Rekveld danseurs Ty Boomershine, Vincent Colomes, Sawami Fukuoka, Emio Greco, Marta Lopes, Nicola Monaco, Marie Sinnaeve, Suzan Tunca assistante à la production, technique Melissa van Geldere techniciens Paul Beumer, Melissa van Geldere, Sander Loonen 

Production Emio Greco | PC coproduction Théâtre de la Ville (Paris), Festival Montpellier Danse 2006, Maison de la Culture Amiens, barbicanbite07 (Londres), Cankarjev Dom (Ljubliana), Julidans 2006 (Amsterdam)

Emio Greco | PC reçoit des subventions du Ministère de l'Enseignement, de la Culture et des Sciences des Pays-Bas ainsi que du FAPK.
Réalisation vidéo Charles Picq date du document vidéo 2006 production Maison de la Danse
Durée de l'œuvre 1h40

Emio Greco was born in 1965 in Brindisi, a port in southern Italy, into a modest peasant-farming family. A classically-trained dancer, he spent three years at the Rosella Hightower Centre in Cannes before joining the Ballet Antibes Côte d'Azur. But it was while dancing with Jan Fabre, from 1993 to1996, that he revealed his fabulous talent as a performer. Marrying his instinctive and spontaneous approach to the figurative and visual world of Jan Fabre, Emio Greco savoured this taste for “the skin of the animal”, this fragile and violent creature cowering within us which rebels against the rules that safeguard harmonies and disciplines. In 1996 he joined the Karas company, run by Japanese choreographer and sculptor Saburo Teshigawara, for whom the body is a sculpture brought to life and which its maker animates in space and light, a genesis impregnated with spirituality and oriental aesthetics. There is no doubt that Saburo Teshigawara conveyed to him the idea of the specific potential which, according to him, lies in the transience of this art: dance is born of the acute awareness of what is and what will be. Having absorbed the wealth this fine and incisive choreographic culture, Emio Greco undertook his own choreographic and research project in parallel after meeting the director Pieter C. Scholten in 1995, relentlessly searching for new ways to allow the body's wisdom to express itself.

With Pieter C. Scholten, he founded the company EG | PC in Amsterdam, which works on a triple principle of contemporary creation, interdisciplinary exchanges – within the framework of International Choreographic Art Center Amsterdam (ICKamsterdam) which they also founded and which houses their company – and teaching, provided by the Accademia Mobile. Experimental in its principle (Bianco, Rosso, Extra Dry, a trilogy, 1996-2000), the dance of Greco and Scholten has been developing since 1998 around the concept of Double Points, short pieces which are similar to the events of Merce Cunningham. Their dance also appropriates traditional heritage, through a tetralogy which explores Dante's Divine Comedy – the first three parts being Hell (2006), then Popopera and In visione ([Purgatory], 2006-2008) – and through the rediscovery (and reinterpretation) of Bach, whose St Matthew Passion inspires the music accompanying the solo by Emio Greco in In visione.
 

Source : Maison de la Danse 

More information : www.ballet-de-marseille.com