Ligne de crête
Ligne de crête
With Ligne de Crête, the choreographer takes up a question from the economist and philosopher Frédéric Lordon asked at a conference entitled Beyond Capitalism: "Where is the desire of people? "
Smothered in the knot of the torments of our time (social violence, outbursts of merchant desire, opaque economic and political structures, blatant injustices, withdrawal and "pampered bodies"), this simple question invites deep reflection on what, for each one is of vital interest, shielding our collective desires for social transformation. Standing up, step by step, and walking along a ridge between two dangerous slopes, the violence of institutional dysfunctions and the violence of men's passions, that is the effort to be made to re-establish a regime of desire other than the one that patiently established capitalism. A process of liberation.
Source: Theatre online
More information: https://ramdamcda.org
Maguy Marin was born in Toulouse in 1951 and studied dance at the conservatory there before joining the Strasbourg Ballet. In 1970 she was accepted at Maurice Béjart’s school Mudra, where she stayed three years before becoming a soloist (for four seasons) with the Ballet of the 20th Century, under the direction of Maurice Béjart. A turning point would come at the end of this period seeing her shed all her previously held conceptions “allowing a multitude of creative choices, liberty and also constraints to emerge. Nothing was ever the same”. She also began questioning the body types idealized within the dance world, a subject that would become central in her work. “With Maurice Béjart the body was magnified. Youth, virtuosity, everything sparkled. And I had a problem with that. I asked myself what happened to all those other bodies, the ones that were infirm, misshapen or uncoordinated, but who managed to keep standing nonetheless.”
Between 1980 and 1997 Maguy Marin was based at the Maison des arts in Créteil, with her company becoming an official Choreographic Centre in 1985.
From 1998 until 2011 she directed the National Choreographic Centre in Rillieux-la-Pape. After which time the company once again became independent, setting up in Toulouse in order to continue their creative research. In 2015 the company moved again, this time to Sainte Foy-lès-Lyon, where they set up in an old carpentry factory. Their tenure there would allow them to continue to open up the immaterial space of that which is shared, something that obstinately seeks to make itself manifest while encouraging the unfolding of a new ambitious project: RAMDAM, AN ART CENTRE. It is a place of horizontal sharing, dedicated to hosting artists and audience members alike. It is also a place intent on facilitating an on-going exchange and continuous circulation between those conducting research, amateurs, students, spectators and volunteers; as well as creating bridges between different artistic practices, laboratories, places for public relations, education and reflection.
- 1978: Grand Prix du Concours chorégraphique international de Bagnolet - 2003: Grand Prix de la danse du Syndicat de la critique for
Les applaudissements ne se mangent pas
- 2003: American Dance Festival Award
- 2006: Special jury prize Syndicat de la critique for Umwelt
- 2008: Bessie Award for Umwelt presented at the Joyce Theater
- 2008: Grand Prix de la danse du Syndicat de la critique for Turba
- 2011: Prix Danza & Danza for “Best Contemporary Dance Piece » for Salves - 2016: Golden Lion, Venice Biennale
More information : compagnie-maguy-marin.fr
Born in 1977, Fabien Plasson is a video director specialized in the field of performing arts (dance , music, etc).
During his studies at the Ecole Nationale des Beaux-Arts de Lyon (joined in 1995) Fabien discovered video art. He was trained by various video artists (Joel Bartoloméo Pascal Nottoli , Eric Duyckaerts , etc) .
He first experimented with the creation of installations and cinematic objects.
From 2001 to 2011, he was in charge of Ginger & Fred video Bar’s programming at La Maison de la Danse in Lyon. He discovered the choreographic field and the importance of this medium in the dissemination, mediation and pedagogical approach to dance alongside Charles Picq, who was a brilliant video director and the director of the video department at that time.
Today, Fabien Plasson is the video director at La Maison de la Danse and in charge of the video section of Numeridanse.tv, an online international video library, and continues his creative activities, making videos of concerts, performances and also creating video sets for live performances.
Sources: Maison de la Danse ; Fabien Plasson website
More information: fabione.fr
Ligne de crête
Artistic direction / Conception : Maguy Marin
Interpretation : Ulises Alvarez, Françoise Leick, Louise Mariotte, Cathy Polo, Ennio Sammarco, Marcelo Sepulveda
Lights : Alexandre Béneteaud
Costumes : Nelly Geyres
Settings : (dispositif scénique) Albin Chavignon, Balyam Ballabeni, Charlie Aubry
Sound : Charlie Aubry
Production / Coproduction of the choreographic work : Coproductions Biennale de la Danse de Lyon, Théâtre de la Ville - Paris, Théâtre Gérard Philipe - Centre dramatique national de Saint-Denis, La Briqueterie-CDCN du Val-de-Marne, Ville de Fontenay-sous-Bois, théâtre Garonne, scène européenne – Toulouse, ThéâtredelaCité - CDN Toulouse Occitanie, La Place de la Danse - CDCN Toulouse - Occitanie, Compagnie Maguy Marin, avec le soutien du Conseil Départemental du Val de Marne pour l’aide à la création
Production / Coproduction of the video work : Biennale de la danse, Fabien Plasson 2018
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 Dance Biennial Défilé
The BNP Paribas Foundation
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.
les ballets C de la B and the aesthetic of reality
Why do I dance ?
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.
This parcours presents different video extracts in which hands are the center of the mouvement.
Contemporary Italian Dance : the 2000s
Panorama of contemporary dance practices in Italy during the 2000s.
Hip hop / Influences
This Course introduce to what seems to be Hip Hop’s roots.