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Solo (2003)

Maison de la Danse de Lyon 2009 - Director : Picq, Charles

Choreographer(s) : Decouflé, Philippe (France)

Present in collection(s): Maison de la Danse de Lyon , Saisons 2000 > 2009

Video producer : Maison de la Danse

Integral video available at Maison de la danse de Lyon

en fr

Solo (2003)

Maison de la Danse de Lyon 2009 - Director : Picq, Charles

Choreographer(s) : Decouflé, Philippe (France)

Present in collection(s): Maison de la Danse de Lyon , Saisons 2000 > 2009

Video producer : Maison de la Danse

Integral video available at Maison de la danse de Lyon

en fr

Solo

Philippe Decouflé dances here in the first person singular, as “I”. Yet he does not choreograph his ego. He offers fragments of existence and of sensations where each spectator may conjure up a portrait. His “Solo” is an “I” that swings back and forth between himself and us.

His life? His work? We don't really care. The “Solo” is slightly, but just very slightly autobiographical. Yet it speaks to our human hearts. Imagine ten fingers filmed in close-up on a table, two wandering hands that twirl around and set the beat. It doesn't seem like much in writing, but on the stage it is so intense that several spectators fainted. Imagine a myriad of cameras and screens kaleidoscoping Decouflé infinitely, going on and on and on. He is transformed into a water ballet master where he forms, by himself alone, the astounding flock of beauties in swimming costumes. Wait, that's just the beginning, the show goes on… “I'm full of doubt”, explains the choreographer upon the Solo opening. A specialist on the question and on the subject, René Descartes, said before him: “I am not the assemblage of members called the human body”. I dance therefore I am, is an undeniable contribution from Decouflé to philosophy.


Source : Maison de la Danse performance program

Decouflé, Philippe

Dancer, choreographer, director and art director


As a child, I dreamt of becoming a comic book artist. Drawing is usually the start of my creative process. I just throw out ideas and sketch out pictures that pass through my head. My culture is comics, musicals, nightclub dancing, and also Oskar Schlemmer, the Bauhaus choreographer. Discovering photos of characters from his Triadisches Ballett was a revelation for me. I had always wanted to work with simple geometric shapes like cubes and triangles. I liked seeing how these lines and volumes behaved with each other. Alwin Nikolaïs taught me the importance of light and costume, and the confidence you need to mix everything together. Technically, it was Merce Cunningham who taught me the most about dance. I was taking video courses he was giving in New York. It was fascinating. That’s where I learned how to solve problems of distance and geometry, and the basic principles of optics and movement. Tex Avery inspired me a lot in thinking up gestures that are almost impossible to do. I’ve always kept something of that desire to create something strange, extreme or crazy in my movements. I’m looking for a dance style that’s off-balance, always on the verge of toppling over. With influences like the Marx Brothers, for example, and in particular Groucho Marx, I’ve developed a taste for naughty risk-taking, and comic repetition of mistakes.


Source : Philippe Découflé


More information : cie-dca.com

Picq, Charles

Author, filmmaker and video artist Charles Picq 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.

More recently, he launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created the website numeridanse.tv, an international video library for dance online.

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

Solo

Artistic direction / Conception : Philippe Decouflé

Interpretation : Philippe Decouflé

Original music : Joachim Latarjet

Video conception : Olivier Simola

Lights : Patrice Besombes

Costumes : Pierre-Jean Verbraeken (accessoires)

Technical direction : Lahlou Benamirouche

Sound : Claire Thiébault

Other collaborations : Laurent Radanovic (régie plateau et vidéo), Perrine Brudieu (coordination)

Production / Coproduction of the choreographic work : Franck Piquard (direction de production) ; production Compagnie DCA – Philippe Decouflé ; coproduction Grand Théâtre de Luxembourg, Festival de danse de Cannes ; La Compagnie DCA est subventionnée par la DRAC Ile-de-France - Ministère de la Culture et de la Communication, le Conseil Général de la Seine-Saint-Denis et la Ville de Saint-Denis.

Production / Coproduction of the video work : production DCA ; Maison de la Danse 2009, Charles Picq

Duration : 75'

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