A tribute to Francesca Woodman
With this production, inspired by the figure of Inanna, a Mesopotamian divinity, Carolyn Carlson has created a committed yet poetic piece of work.
It is pretty safe to say that Carolyn Carlson, the American without borders, is a choreographer of women par excellence: whether we think of the time in the past when she directed herself in “Blue Lady” and in “Dark”, or the time she directed others in “Signes” and “Hidden”, Carolyn Carlson invites mothers, sisters, lovers and dancers. And occasionally, a few men too! “Inanna” illustrates these women today … warriors, seductresses, protectors who echo “Inanna”, the multifaceted goddess from the Sumerian pantheon. In a décor made of bricks (created by Euan Burnet-Smith) and using poetry as a source of inspiration, Carolyn Carlson multiplies profiles, dares to include an ever-so refined dance at certain moments, a lyrical style at other moments, yet perpetually incredibly generous. In this ode to the embodiment of the feminine being, seven performers create harmony between bodies and passions. Carolyn Carlson, at the height of her art, invites to discover the changing colours of her choreography, drawing from each one the resources required to evoke this “mysterious energy” that composes everything that we see in the sky, the folds of time and space”. “Inanna” is an edifying production, created in 2005, when Carolyn Carlson established herself at the Roubaix National Choreographic Centre. This tribute to beauty will, henceforth, lull the fringes of the Théâtre National de Chaillot.
Source : Philippe Noisette, Théâtre national de Chaillot
Author, filmmaker and video artist Charles Picq (1952-2012) entered working life in the 70s through theatre and photography. A- fter resuming his studies (Maîtrise de Linguistique - Lyon ii, Maîtrise des sciences et Techniques de la Communication - grenoble iii), he then focused on video, first in the field of fine arts at the espace Lyonnais d'art Contemporain (ELAC) and with the group « Frigo », and then in dance.
On creation of the Maison de la Danse in Lyon in 1980, he was asked to undertake a video documentation project that he has continued ever since. During the ‘80s, a decade marked in France by the explosion of contemporary dance and the development of video, he met numerous artists such as andy Degroat, Dominique Bagouet, Carolyn Carlson, régine Chopinot, susanne Linke, Joëlle Bouvier and regis Obadia, Michel Kelemenis. He worked in the creative field with installations and on-stage video, as well as in television with recorded shows, entertainment and documentaries.
His work with Dominique Bagouet (80-90) was a unique encounter. He documents his creativity, assisting with Le Crawl de Lucien and co-directing with his films Tant Mieux, Tant Mieux and 10 anges. in the 90s he became director of video development for the Maison de la Danse and worked, with the support of guy Darmet and his team, in the growing space of theatre video through several initiatives:
- He founded a video library of dance films with free public access. This was a first for France. Continuing the video documentation of theatre performances, he organised their management and storage.
- He promoted the creation of a video-bar and projection room, both dedicated to welcoming school pupils.
- He started «présentations de saisons» in pictures.
- He oversaw the DVD publication of Le tour du monde en 80 danses, a pocket video library produced by the Maison de la Danse for the educational sector.
- He launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created Numeridanse.
His main documentaries are: enchaînement, Planète Bagouet, Montpellier le saut de l'ange, Carolyn Carlson, a woman of many faces, grand ecart, Mama africa, C'est pas facile, Lyon, le pas de deux d'une ville, Le Défilé, Un rêve de cirque.
He has also produced theatre films: Song, Vu d'ici (Carolyn Carlson), Tant Mieux, Tant Mieux, 10 anges, Necesito and So schnell, (Dominique Bagouet), Im bade wannen, Flut and Wandelung (Susanne Linke), Le Cabaret Latin (Karine Saporta), La danse du temps (Régine Chopinot), Nuit Blanche (Abou Lagraa), Le Témoin (Claude Brumachon), Corps est graphique (Käfig), Seule et WMD (Françoise et Dominique Dupuy), La Veillée des abysses (James Thiérrée), Agwa (Mourad Merzouki), Fuenteovejuna (Antonio Gades), Blue Lady revistied (Carolyn Carlson).
Source: Maison de la Danse de Lyon
Choreography : Carolyn Carlson
Interpretation : Chinatsu Kosakatani Isida Micani Sara Orselli Sonia Rocha Cristina Santucci Sara Simeoni Alessandra Vigna
Set design : Euan Burnet-Smith
Original music : Armand Amar
Lights : Rémi Nicolas
Costumes : Manue Piat assistée de Chrystel Zingiro
Other collaborations : Musiques additionnelles Bruce Springsteen, Tom Waits. Masques Monique Luyton
Production / Coproduction of the video work : 24 Images collection Scènes d'écran
[1930-1960]: Neoclassicism in Europe and the United States, entirely in tune with the times
The Ballets Russes paved the way for what would become known as: neo-classical. Back then, the term “modern ballet” was frequently used to define this renewal of aesthetics: a savvy blend of tradition and innovation, which each choreographer defined in their own way.
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.
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.
In the 1970s, artists’ drive towards a new classic had been ongoing for more than a half century and several generations had already formed since the Russian Ballets. As the years went by, everyone defended or defends classical dance as innovative, unique, connected to the other arts and the preoccupations of its time.
DANCE AND DIGITAL ARTS
Why do I dance ?
Female / male
A walk between different conceptions and receptions of genres in different styles and eras of dance.
The “Nouvelle Danse Française” of the 1980s
In France, at the beginning of the 1980s, a generation of young people took possession of the dancing body to sketch out their unique take on the world.
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
Carolyn Carlson, a woman of many faces
Charles Picq, dance director
A Rite of Passage
When reality breaks in
On 24th May 1959, Tatsumi Hijikata portrayed the character of the "Man" in the first presentation of a play called Kinjiki (Forbidden Colours).
The Ankoku Butoh was born,
States of the body
Explanation of the term « State of the body » when it’s about dance.
Dance in Quebec: Untamed Bodies
First part of the Parcours about dance in Quebec, these extracts present how bodies are being used in a very physical way.
Dance and percussion
Découvrez de quelles manières ont collaboré chorégraphes et éléments percussifs.