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L'Après-midi d'un faune (1965)

CN D - Centre national de la danse 2015 - Director : Centre national de la danse, Réalisation

Choreographer(s) : Jooss, Kurt (Germany) Simonet, Noëlle (France)

Present in collection(s): Spectacles et performances

Video producer : Centre national de la danse

Integral video available at CND de Pantin

en fr

L'Après-midi d'un faune (1965)

CN D - Centre national de la danse 2015 - Director : Centre national de la danse, Réalisation

Choreographer(s) : Jooss, Kurt (Germany) Simonet, Noëlle (France)

Present in collection(s): Spectacles et performances

Video producer : Centre national de la danse

Integral video available at CND de Pantin

en fr

L'Après-midi d'un faune - version 1965

À son retour de New York en 1961, Pina Bausch rejoint le Folkwangballet à Essen, compagnie constituée par Kurt Jooss, où elle rencontre Jean Cébron. Ensemble, ils travaillent une technique qu’orientent les conceptions de Rudolf Laban, mêlées à des apports issus de la Modern Dance nord-américaine et au legs d’Enrico Cecchetti pour le domaine du ballet. Pour ces deux interprètes d’exception, Kurt Jooss livre, en mars 1966 et sur la musique de Claude Debussy, sa version de L’Après-midi d’un faune. Le jeu des contrastes dynamiques, conjoint aux modulations de schèmes de mouvements tour à tour traités sur un mode multidirectionnel ou selon des logiques d’à-plat, réminiscences de l’œuvre de Nijinski, façonnent le matériau chorégraphique. La partition, établie en cinétographie Laban dès l’époque de sa création, permet aujourd’hui à Noëlle Simonet de redonner corps à cette œuvre méconnue. 

(source : programme du CND)

Jooss, Kurt

(1901-1979)

A natural leader and independent thinker, Jooss (1901–1979) helped develop what is now known as German Tanztheater, an expressive dance style that combined movement, text and drama. For Jooss, movement and words were inextricably linked; their connection was key to making performances as powerful an experience as life itself. Unlike expressionist choreographers of his time whose dances spoke to emotional themes, he sought to reveal the fallibility of the human condition. He created dances about urban alienation, social injustice and post-war trauma.

Born near Stuttgart, Germany, Jooss grew up studying piano, voice and drama but was drawn to dance from an early age. In 1919, he met Rudolf Laban, who was creating mass movement choirs danced by both professionals and amateurs, including Jooss. Although he had little dance training, he became Laban's student and choreographic assistant. That same year, Jooss presented his first evening of dance, "Two Male Dancers", with fellow student Sigurd Leeder, who became his longtime collaborator. Soon after, Jooss started his own company and created stage works for trained dancers. In 1927, he began his tenure as the first head of the dance department of the Folkwang School in Essen, Germany, which he co-founded that year. After WWII ended, Jooss returned to Germany and resumed his position as dance director of the Folkwang School, and he remained there until 1968.

Source : Dance teacher

More information

dance-teacher.com

 

Simonet, Noëlle

Après une formation en danse classique et contemporaine à la   « Rambert School of Dance » de Londres, Noëlle SIMONET travaille dans  plusieurs compagnies : le Ballet Théâtre Contemporain d’Angers, le  Ballet Théâtre Français de Nancy et le Ballet Théâtre du Silence.
 Elle interprète des oeuvres de nombreux chorégraphes de renom, comme F.  Blaska, G. Balanchine, L. Falco, M. Cunningham, V. Farber et D. Gordon.

Elle  étudie la technique « Pilatess » tout en continuant à travailler avec  les chorégraphes : M. Caserta, J-M Matos et Philippe Tresserra et  obtient en 1986 le prix d’interprétation au premier Concours  Chorégraphique de la Ville de Paris.

Après avoir suivi la  formation d’analyse et d’écriture du mouvement au Conservatoire de Paris  dans la classe de Jacqueline CHALLET-HAAS, elle crée, en 1997, la  Compagnie LABKINE pour faire connaître la richesse du répertoire de la  danse en remontant des œuvres à partir de leur partition et en les  diffusant.

- Elle collabore avec Elisabeth SCHWARTZ, spécialiste  de la danse du début du siècle et interprète du répertoire d’Isadora  DUNCAN,

- Avec Jean-Marc PIQUEMAL elle a remonté des œuvres du  collectif « New Dance Group » et « Rooms » d’Anna SOKOLOW en 2007 et  2008 et créé le spectacle "Dancing Red" et la conférence dansée "Le  Répertoire en mouvement, étude révolutionnaire" en 2009.

Parallèlement  à ses activités au sein de la Compagnie LABKINE, Noëlle SIMONETenseigne  depuis 1999 la notation du  mouvement, système LABAN, au Conservatoire  National Supérieur de Musique et de Danse de Paris.

- Avec  Wilfride PIOLLET, danseuse de renommé internationale, elle collabore à  la création de son livre : « Les Barres Flexibles », édition L’une &  l’autre en notant en cinétographie LABAN l’ensemble de ses exercices  qui constituent une technique  innovante d’entraînement du danseur.

-  Elle note "Cahiers 1830" chorégraphie de Jean Guizerix, réalisée à  partir des exercices notés par Léon Michel à l'intention de son fils  Arthur Saint-Léon. « Les Matins Blancs », chorégraphie de Santiago  SEMPERE, commande de la Maison de Pratiques Artistiques Amateurs.

Elle  suit la formation en Body Mind Centering® (Bonnie Bainbridge Cohen),  dirigée par Vera ORLOCK et Thomas GRIEL et obtient en 2013 son diplôme  de Somatic Movement Educator.

De 2006 à 2009 elle a fait partie du comité de recherche ICKL : «Internatioal Council of Kinétographie Laban ».

En  2012 et en 2013 elle intervient à la Fondation Royaumont auprès de  jeunes chorégraphes en formation dans le cadre du dispositif  “Transforme” dirigé par Myriam Gourfink.

Elle obtient en 2011 et  en 2013 une bourse dans le cadre du dispositif d'aide à la recherche et  au patrimoine en danse accordée par le Centre National de la Danse de  Pantin pour les projets : La partition chorégraphique - Outil de  transmission, outil de création - #1 Le croquis de parcours et le  deuxième volet: #2 Transferts et tours.

- Avec le danseur,  notateur et chorégraphe Raphaël COTTIN, elle créée la pièce "SIGNATURES"  en 2015, duo sur la marche et l'espace inspiré des signatures spatiales  des grands chorégraphes D. Humphrey, L. Childs et M. Cunningham.

Elle  poursuit sa collaboration à des groupes de réflexion et de recherche.  Elle participe en 2015 au groupe Labodanse, ateliers et colloques  danse-science et philosophie. Elle collabore, depuis 2014, à plusieurs  temps de rencontre et de discussion avec l'équipe de recherche en  robotique humanoïde Gepetto du LAAS-CNRS de Toulouse dirigée par  Jean-Paul Laumond.

En 2015 le Centre National de la Danse de  Pantin en collaboration avec l'Opéra de Paris lui commande le remontage  de "L'Après-midi d'un faune" de Kurt Jooss avec deux danseurs de l'Opéra  de Paris qui est présentée dans le cadre du programme Scènes de geste  au CND en novembre 2015.

Source : www.labkine.com/ 

Centre national de la danse, Réalisation

    

L'Après-midi d'un faune - version 1965

Choreography : Kurt Jooss - Reprise et transmission sous la direction de Noëlle Simonet

Interpretation : Solistes du Ballet de l’Opéra de Paris - Valeria Guiga, Pierre Arthur Raveau

Other collaborations : Enregistré au CND le dimanche 8 novembre 2015 dans le cadre de Scènes du geste

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