Ply, new edit
ly results from the collaboration of Yuval Pick and Ashley Fure.
In 2016, Yuval Pick revisits the piece by reorganizing the dynamic. With a new cast and an extensive punctuation of the sound by the movement, he reveals the musicality and the humanity of the piece.
As he did in both No play hero (2012) and loom (2014), in Ply Yuval Pick continues his exploration of movement to contemporary American music: he strips down its many layers, deconstructing them in order to re-deploy their essential structures ... Having distilled this process down to a sort of pure choreographic “marrow,” he now begins classifying movement according to new configurations, moving them in mirror patterns, transferring them from one dancer to another, reversing their directions, exposing them to continual variation, in which they will be executed in different rhythms or from different points of view ...
loom was a duo organized according to two principal polarities: breathing in and out, giving and receiving. These movements originating at the center of the body, are -- in Ply – prolonged to the very edges of the kinesphere (the space around the body which is reachable with fully extended arms or legs). The exchange between two individuals opens out into a wider space, with more complex movements, also expanding to include five dancers.
As in No play hero and loom, Ply was created to American music. But in this case the collaboration between Yuval Pick and the composer Ashley Fure was conceived as if it were a score for four hands. Working from the blank page of the empty stage, the two artists invented a movement and sound lab, each proposing material which would be organized in various strata or layers, all of which would communicate with each other, through their analogies as well as through their counterpoints and tensions. The space between the dancers in Ply and the silences in Ashley Fure’s music are very important in the work: the dance and the acoustic composition are almost in danger here, to the point of rupture or a fall.
Ply begins with several “grains” of music, with the dispersed solitude of dancers moving, each in his or her own space. These grains begin to multiply, to combine, extending ... the bodies of the dancers begin brushing against each other, being aware of each other, prolonging their respective movements. Next, a few couples, then a group, begin discreetly echoing, furtively exchanging shapes, linking to each other in fragmentary attempts. At the individual as well as at the collective level, Yuval Pick creates onstage obstacles to uniformity, seeking other ways of being together, so that when there is indeed a unified form, this neither here-nor-there of relationships plays out in bursts, starts, oscillations, irregular movements ... resonating with each other, creating links which neither erase or cancel out the uniqueness of each body in the space, its inventiveness open wide. Through dance, Ply asks an important question: how to create common spaces; how to create a group without losing either one’s individuality or subjectivity.
Appointed director of the Centre Chorégraphique de Rillieux-la-Pape in August 2011, Yuval Pick has had a long career as a choreographer, a dancer and a teacher.
He first trained at the Bat-Dor Dance School in Tel Aviv, then joined the Batsheva Dance Company in 1991. Four years later he left to begin working as an international guest artist with, among others, Tero Saarinen, Carolyn Carlson and Russel Maliphant.
In 1999 he joined the Opera Ballet of Lyon, and founded his own company, The Guests, in 2002.
Since then he has created a strong repertory of works marked by their elaborated, layered movement vocabulary, accompanied by commissioned scores by ranking composers.
In his work the relationships between individuals and group(s) are often highlighted and challenged.
He created Popular Music (2005), Strand Behind (2006) for the Agora Festival (IRCAM) and the National Conservatory of music and dance (CNSMD) in Lyon, /Paon/ (2008) for the Junior Ballet in Genève and 17 drops. In 2010, he created Score and then The Him for the Junior Ballet of the National Conservatory music and dance (CNSMD) in Paris and the trio PlayBach at the invitation of Carolyn Carlson.
In 2012, No play hero, with the music of David Lang and Folks for the Biennale of Danse in Lyon. Then, two creations in 2014, the duet loom with the music of Nico Muhly and Ply piece for five dancers with the american composer Ashley Fure.In 2015, he creates Apnée (corps vocal) for four dancers and six singers and then Are friends electric? for six dancers around the music of Kraftwerk.
In 2016, Yuval Pick was commissioned to create a work in a national historical building: Hydre in the the Royal Monastery of Brou.
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Centre national de la danse, Réalisation
Choreography : Yuval Pick
Choreography assistance : Sharon Eskenazi
Interpretation : Madoka Kobayashi, Anna Massoni, Lazare Huet, Alexis Jestin, Antoine Roux-Briffaud
Original music : Ashley Fure (Commande Ircam-Centre Pompidou) - Réalisation musicale - Ircam : Manuel Poletti
Lights : Nicolas Boudier
Costumes : Magali Rizzo et Pierre-Yves Loup-Forest
Sound : Raphaël Guénot
Duration : 57 minutes