Surveying has always linked body and space. When the surveyor measured distances with his thumb, hand, elbow, arm or stride, he used his body to know the limits of his space. The dancers of Les Arpenteurs, Michèle Noiret’s new choreography, have borne in mind the meaning of this approach. They too appropriate, in their own way, the space in which they evolve through the movements of their body and the energy of their gestures, in a city that reveals the intimacy of beings. A town that they tread, at times alone, trying to find themselves, at times involved in strange encounters.
The city in question is a metaphor to access what is human, to question one’s inner life, one’s perceptions and sensuality, but also one’s failings, doubts and fears. More than just interpreters, the seven dancers try to add to their technical virtuosity an expressive capacity, a radiance that make them genuine “choreographic characters”. They are not alone on the stage. Amongst them, around them, the six musicians from the Percussions de Strasbourg interpret the score that François Paris has created specially for this show. His composition opens up musical worlds of an astonishing richness and draws from the range of instruments of the Percussions de Strasbourg, formed in particular by the famous “Sixxen” invented for them by the composer Xenakis, sounds and chords that give life to this imaginary city and the people passing through it. Dance and music intermingle, respond to and stimulate each other.
Source : Michele Noiret
After graduating from the Mudra School in Brussels founded by Maurice Béjart, Michèle Noiret met Karlheinz Stockhausen. She studied the composer's gesture notation system and worked with him as a soloist for fifteen years. During this rigorous, precise experience she founded her own company in 1986. She is the author of more than 30 choreographies, each of which provides access to a singular world that is poetic but always unsettling. Since 1997 she has introduced interactive technologies of sound and image in to her choreographic researches, questioning our perceptions of time and space. Using these tools, she likes to mix things up and spread discord. She has also always devoted a major part of her research to developing a fine, precise, altogether personal choreographic writing. The creation of a genuine dance-cinema and the construction of choreographic characters are other traits of her work. Since 2006 she has been an associate artist at the Théâtre National in Brussels. Michèle Noiret is a member of the Académie royale de Belgique.
Source : Michèle Noiret
More information : michele-noiret.be
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 : Michèle Noiret
Choreography assistance : Pascale Gigon en tournées Dominique Duszynski
Interpretation : Elena Borghese, Julie Devigne, Dominique Godderis, Matthieu Guénégou, Nicolas Hubert, Isael Mata, Lise Vachon Les Percussions de Strasbourg Jean-Paul Bernard (direction artistique), Claude Ferrier, Bernard Lesage, Keiko Nakamura, François Papirer, Olaf Tzschoppe
Artistic consultancy / Dramaturgy : Pascal Chabot
Set design : Alain Lagarde
Original music : François Paris
Lights : Xavier Lauwers, Marc Lhommel (régie)
Costumes : Alain Lagarde, Patricia Eggerickx (Assistante costumes), Ateliers du Théâtre National, Bruxelles (construction)
Settings : Ateliers du Théâtre National, Bruxelles
Technical direction : Christian Halkin
Other collaborations : Alexis Baskind et en tournées Vanessa Court (Réalisateur informatique musicale), Nicolas Déflache (Ingénieur du son-technique CIRM), Laurent Fournaise et Martial Kiene (Régie instruments), Christophe Blacha (Régie plateau), Jean-Jacques Van Binnebeek (Chauffeur et machiniste), Sergine Laloux (Photographie)
Production / Coproduction of the video work : Maison de la Danse, Charles Picq
Western classical dance enters the modernity of the 20th century: The Ballets russes and the Ballets suédois
If the 19th century is that of romanticism, the entry into the new century is synonymous of modernity! It was a few decades later that it would be assigned, a posteriori, the name of “neo-classical”.
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 BNP Paribas Foundation
La part des femmes, une traversée numérique
Qudus Onikeku - Reclaim a forgotten memory
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!
les ballets C de la B and the aesthetic of reality
DANCE AND DIGITAL ARTS
Why do I dance ?
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.
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.