Partita [remontage 2016]
Partita [remontage 2016]
An extract remodelled by the Junior Ballet (Toulon), artistic manager Nicole Vivier, as part of the “Danse en amateur et repertoire” programme (2015) (a programme created to assist and promote amateur dancing).
Set up in 2008 in Toulon (Var), the Ballet Junior, led by Nicole Vivier, is the home port of determined students hailing from the four Conservatoire sites spread out over the Toulon urban area. Aged 16 to 40, these dancers, from different backgrounds and styles, wish to further their horizons and develop their interpreting potential by meeting with artists. They rehearse in a studio located in La Vallette-du-Var.
Wishing to get to know better the world of the trailblazer Doris Humphrey, the group chose Partita, choreographed in 1942, as the piece juxtaposes two languages: modern through its dance, and baroque through its music. An aesthetic shock that it seemed interesting to get to grips with. With Claire Roucolle, an expert in the remodelling of repertoire pieces and who had already danced this show with the company Labkine, the aim was to trace Humphrey’s legacy and her influence today, while at the same time refining the relationship between dance and music. Four very short dances (sarabande, courante, minuet, gigue) were selected, and presented by seven female dancers in a setting of seven small stools. A pianist on stage accompanied the show.
A figure of American dance, Doris Humphrey (1895-1958) studied music, classical and folk dance, as well as Dalcroze eurhythmics. She founded the company Humphrey-Weidman, with Charles Weidman, in 1928 in New York. Also present on Broadway, she danced up to 1944 and choreographed pieces for her troupe before becoming the artistic director of the company José Limón in 1946. Inspired by natural phenomena and driven by a powerful humanism, she has a dramatic, strong writing style.
Doris Humphrey was born in Oak Park, Illinois, in 1895 and grew up in Chicago. Her father operated a residence home for vaudeville performers called the Palace Hotel, and her mother offered piano lessons. As a girl, Humphrey studied piano, ballet, ballroom dance, Americanized Delsarte and Dalcroze's system of Eurythmics. A talented dancer, she began teaching ballet and interpretive dance to children when she was 15. During the next few years, Humphrey traveled the Santa Fe railroad line with a variety troupe, giving performances to railroad employees of her home-made aesthetic dances and Spanish numbers. When she returned home to Oak Park she began her own studio with her mother as accompaniest and business manager.
By 1931, the Humphrey and Weidman companies and their joint studio/school were firmly established in New York City. With Graham, Humphrey was considered by most critics to be a primary innovator of the new modern dance. Her theory of "fall and recovery"-- and the technique that sprang from it--was the foundation of her teaching method and her choreography. Underlying it, according to Humphrey, was the German philosopher Frederick Nietzsche's idea about the split in the human psyche between each person's Apollonian side (rational, intellectual) and our Dionysian side (chaotic, emotional). The true essence of the modern dance was the movement that happened in between these extremes, which Humphrey labeled "the arc between two deaths."
Source: University of Pittsburg
From live stage images to life in images, the director and video artist Karim Zeriahen seems to have found the shortest way. Since the beginning of the 90s, when he worked in close relationship with choreographer Philippe Decouflé, he learned how to put the art of stage in motion, contemporary dance most of the time. Karim Zeriahen then starts a fruitful collaboration with Montpellier based choreographer Mathilde Monnier. Stop, Videlilah, day of night, short films adapted from her stage creations. Each time, Karim Zeriahen's camera takes over the place with movement, the body language is not frozen but magnified. Choreographer Herman Diephuis also joins this gallery of dancing portraits. Documentaries on figures such like Albert Maysles or Hubert de Givenchy and from Joe Dalessandro to Paul Morrissey, he sets a signature, a camera always in action with confidence.
Today the director goes further with a new project and tracks the subtle movements of the body language beyond the physical appearance. A collection of living portraits as unique pièces reminding us of the master portraitists of renaissance. These living natures consists in filming the subject in a certain amount of time, almost still, with signs of respiration, eye blinks, as if it were posing for a painting. They are then displayed on a flat screen with a memory card. With this collection starting, Karim Zeriahen, with his documentary and artist vision, interrogates himself about the virtual world filled with images. By taking a pause, and his models with him, he questions the way we look at things, the way we look at life.
Source: Philippe Noisette
En savoir plus: www.karimzeriahen.com
Partita [remontage 2016]
Choreography : Doris Humphrey
Interpretation : Nina Barbe, Laura Bourguet, Indiana Chambre, Amélie D'Anna, Morgan Hernandez, Florie Laroche, Louisa Viret
Other collaborations : Extrait remonté par le Junior Ballet (Toulon), responsable artistique Nicole Vivier, dans le cadre de Danse en amateur et répertoire (2015) - Transmission Claire Roucolle
Duration : 10 minutes
Danse en amateur et répertoire
Amateur Dance and Repertory is a companion program to amateur practice beyond the dance class and the technical learning phase. Intended for groups of amateur dancers, it opens a space of sharing for those who wish to deepen a practice and a knowledge of the dance in relation to its history.
Head of Research and Choreographic Directories
Research Assistant and Choreographic Directories
+33 (0)1 41 83 43 96
Source: CN D
The Dance Biennial Défilé
The American origins of modern dance: [1930-1950] from the expressive to the abstract
Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!
[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.
Why do I dance ?
The Dance Biennale
This Parcours questions the idea that contemporary dance has multiples techniques. Different shows car reveal or give an idea about the different modes of contemporary dancer’s formations.
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
The national choreographic centres
Roots of Diversity in Contemporary Dance
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!
How to become a dance spectactor ?
Käfig, portrait of a company
Do you mean Folklores?
Presentation of how choreographers are revisiting Folklore in contemporary creations.
Focus on the variety of bodies offered by contemporary dance and how to show these bodies: from complete nudity to the body completely hidden or covered.