Plexus comes from the late period Latin and means « intertwining ». Later on, the ordinary sense of the term used in the context of anatomy meant « the network of nerves or blood vessels ». The very definition of the word refers to the muscles’ inner mechanics : the impulses from the nervous system and the flow of oxygenated blood, as well as the external mechanics of dance : intertwinings of movements, driftings, bodies and body parts. The way I intended to portray Kaori Ito mostly implied portraying her body. I’m not interested in an anatomical study, but in the memory of a body substantially shaped by dance ; I care about the innermost marks her art has carved in her living body. How has her every cell taken part in this wonderful network of muscle tissue ? How has dance shaped, sculpted, and eventually expanded or crippled her innerspace ? Kaori Ito has worked with many different choreographers, each of them having singular, sometimes opposed, sets of aesthetics. She has been subjected to opposite influences, she has been caught and torn between various artistic choices. These strained have crossed her body. The external entity of dance has entered her. Plexus deals with this dialogue between Kaori’s innerworld and the outside world. Isn’t this dialogue one of the quintessential features of the universal human experience ? Is this dialectic the architect of our innerself ? or is it the hub of our frailties?
With this upcoming project, my wish is to continue with the series of women portraits that began in 2008 with Stephanie Fuster in Questcequetudeviens ?. Yet again, I opted for a dancer as my model : the Japanese Kaori Ito. My aim is to tackle dance as an intimate assessment of the innermost self. Once more I will rely on the work and the artistic career of the dancer ; with Kaori Ito, as it was already the case with Stéphanie Fuster, her path can be explored in the light of its various displacements. Kaori Ito was born in Japan. That’s where she became a dancer, she then pursued her training in New York, and finally arrived in Europe where she has worked with renown choreographers like Angelin Preljocaj, Philippe Decouflé, James Thierrée and Alain Platel. She settled down in Paris, and has since experimented distance from home like a long-lasting, yet chosen path, in order to carry on with her dancing career.
Aurélien Bory was born in Colmar in 1972. His studies in physics in Strasbourg led him to the field of architectural acoustics. He then ended his scientific curriculum in 1995. He settled in Toulouse where he joined the creative studio at the Lido, the Circus Arts Centre. In 1998, he played in Theatre Tattoo's "L'Odyssée" directed by Mladen Materic. In 2000 he founded Compagnie 111 with actor Olivier Alenda. He then conceived and began the six-year-long space trilogy project, in collaboration with Phil Soltanoff, including "IJK", "Plan B" and "Plus ou moins l'infini" (More or less, Infinity).
In 2003 he directed Pierre Rigal in his first solo creation Erection, the stem of their ungoing collaboration, which also originated their second work together: Arrêts de Jeu premiered in 2006. Merging various other fields, he created "Taoub" in 2004 in Tangier with twelve moroccan acrobats, this very show will launch the international career of the Groupe acrobatique de Tanger (Tangier Acrobatic Group). In 2008 Aurélien was the recipient of the "Créateur sans frontières" (Creator without borders)/ Radio France trophy for his international creations, notably "Les sept planches de la ruse" (The seven boards of skill) created in China in 2007 with performers from Dalian. In 2008 and 2009, he conceived two creations: "Questcequetudeviens?", a portrait of a woman, and "Sans Objet", a piece for an industrial robot. His creations include different artistic fields : theatre, circus, dance, visual arts, music... His genre-crossing approach is inscribed within the question of space and is explored through his distinctive scenography. In 2016, he created "ESPÆCE" based on the French writer Georges Perec 's work, at the Festival d'Avignon (France).
Source: Company 111 's website ; Plan Bey 's press file
More information : cie111.com
Kaori Ito began her choreographic career in Japan, when she was 18 years old, she was awarded as the best choreographer and interpreter by Ryouichi Enomoto. In 2002, her choreography in "Yokohama Dance Collection" received the award of the Foundation of the City of Yokohama. She feels then the need to dip into her career and her varied experiences as a performer so she starts to create her own work. From January 2004, she goes to New York as the Japanese Government Overseas Study Program for Artists and studied at [Alvin Ailey Dancce Theater]. She has also worked with Naini Chen dance company. Studying dance at SUNY Purchase in NY, she choreographed for "Joyce Soho Presents" (New York) in 2004. She receives National Conference award from the Rencontres Internationales de Chorégraphiques Seine-Saint-Denis.
She did choreograpy and body coaching for several films (Sans moi d'Olivier Panchot), assisting choreographers in this task (she helps Sidi Larbi Cherkaoui for Diasthème's movie : Le bruit des gens autour). She choreographed latest show of Edouard Baer and assisted choreography for James Thierrée (solo Raul and Tabac Rouge). After working with Philippe Decouflé (Iris), Angelin Preljocaj (Les 4saisons), James Thiérrée (Au revoir Palapruie), Sidi Larbi Cherkaoui (The house of Sleeping beauties by Guy Cassiers) and Alain Platel (Out of Context), in 2008, Kaori Ito directs her first production "Noctiluque" in France and in Switzerland. In 2009, Kaori then deepens her own dance language for her creation entitled SoloS in Japan and presents at the Théâtre National de Marseille, Théâtre du Merlan (France).
Alongside her career as a dancer, Kaori has been interested in cinema, first as a student (she attended an academic film criticism in Japan), then as a videographer and film choreographer.
Her early work : "Carbon Monoxide" was released in 2006 at the Pompidou Center during the festival Vidéodanse, in the United States and in Spain. Kaori Ito is regularly a choreographer for cinema : she worked with Clémence Poésy for the movie "Sans Moi" by Olivier Panchot. She also workes with Léa Drucker for "Le bruit des gens" autour by Diasthème as an assistant of Sidi Larbi Cherkaoui.
Source : Kaori Ito 's website
Artistic direction / Conception : Aurélien Bory
Choreography : Kaori Ito
Original music : Joan Cambon
Lights : Arno Veyrat
Costumes : Sylvie Marcucci
Settings : Pierre Gosselin
Sound : Stéphane Ley
Other collaborations : Plateau et manipulation : Tristan Baudoin, Recherche et adaptation : Taïcir Fadel, Machinerie : Marc Bizet, Régie générale : Arno Veyrat, Production, administration, diffusion : Florence Meurisse, Christelle Lordonné, Marie Reculon
Production / Coproduction of the choreographic work : Production Compagnie 111 – Aurélien Bory, Coproduction Le Grand T - Théâtre de Loire-Atlantique/Nantes, Théâtre Vidy-Lausanne, Théâtre de la Ville/Paris, Le Parvis - scène nationale Tarbes-Pyrénées, Les Théâtres de la Ville/Luxembourg, La Coursive - scène nationale/La Rochelle, Agora - pôle national des arts du cirque/Boulazac Répétitions et résidences Le Grand T - Théâtre de Loire-Atlantique/Nantes, Théâtre Garonne - scène européenne/Toulouse, Théâtre Vidy-Lausanne - La Compagnie 111 – Aurélien Bory reçoit le soutien du Ministère de la culture et de la communication - direction régionale des affaires culturelles de Midi-Pyrénées, de la Région Midi-Pyrénées, de la Ville de Toulouse, de la Fondation BNP Paribas. La Compagnie 111 – Aurélien Bory est artiste associé au Grand T - Théâtre de Loire-Atlantique/Nantes.
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.
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!
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.
Arts of motion
Generally associated with circus arts, here is a Journey that will take you on a stroll through different artists from this world.
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.