The Spectator's Moment (2014): La fille mal gardée
2014 - Director : Plasson, Fabien
Choreographer(s) : Dauberval, Jean (France) Cramér, Ivo (Sweden)
Present in collection(s): Maison de la Danse de Lyon , La minute du spectateur
Video producer : Maison de la Danse de Lyon
The Spectator's Moment (2014): La fille mal gardée
2014 - Director : Plasson, Fabien
Choreographer(s) : Dauberval, Jean (France) Cramér, Ivo (Sweden)
Present in collection(s): Maison de la Danse de Lyon , La minute du spectateur
Video producer : Maison de la Danse de Lyon
The Spectator's Moment
The Spectator's Moment or how to discover an artist, a piece of work or a company in just two minutes. It is a collection of programmes produced by the Maison de la Danse in Lyon and presented by Dominique Hervieu. Each episode is devoted to an artist or a company that is programmed at the Maison de la Danse and offers the public keys or artistic benchmarks for better understanding and appreciating the choreographic art.
© Maison de la Danse de Lyon
Dauberval, Jean
Jean Dauberval (1742-1806). French dancer, choreographer and educator.
Son of an actor with the Comédie-Française, he was trained at the dance school of the Académie Royale de Musique (ARM) in Paris. He appeared on stage in Bordeaux, Lyon (where he worked with J. G. Noverre) and Turin before debuting on stage at the ARM in 1761. Although he joined Noverre in Stuttgart (1762-1764) then London (1764), he spent most of his career performing at the ARM, where he was appointed principal Demi-Caractère dancer in 1763, then principal Noble dancer in 1770. Becoming a Ballet Master at the ARM together with Maximilien Gardel in 1781, he resigned in 1783, as the two were unable to get along. He then became Ballet Master at the King's Theatre in London (1783-1784) then at the Grand Théâtre in Bordeaux, where he created, from 1785 to 1790, a repertoire that highlighted his dancer wife, Mademoiselle Théodore, and at the Pantheon Theatre in London in 1791-1792, where he produced his last ballet.
Greatly appreciated as a dancer by Noverre, who considered him full of spirit, taste and intelligence, he excelled in the allegro dances. A partner of J.-B. Lany, Marie Allard and Marie-Madeleine Guimard, he appeared in a number of operatic works (including by J.-Ph. Rameau and C. Gluck) and participated in the creation of pantomime ballets by Gardel (“La Chercheuse d'esprit", 1777) and Noverre (“Les Petits Riens", 1778).
He scored his first choreography in 1759 in Turin (Il Trionfo di Bacco in Tracia), but was at his best from 1785 on in Bordeaux. He began by creating serious works then turned to lighter, Anacreontic subjects (inspired by the Greek poet Anacreon)- "Pygmalion", 1785; “Psyche", 1788; "Télémaque Dans l’Ile de Calypso", 1791 - or he included ordinary characters in the comic mode (“Le Page Inconstant" and “L’Épreuve Villageoise", 1787; “La Fille Mal Gardée", 1789; “La Foire de Smyrne" and “Les Amants Réunis", 1792).
Rather than dazzle the audience, he sought to touch their hearts. Skilled at presenting the characters, he blended dance and pantomime, demanding of his performers solid technique allied with varied expressive displays. S. Viganò, C.-L. Didelot, J.-P. Aumer and E. Hus were among his students.
Source: Dictionnaire de la Danse, Larousse, éd. 1999, en ligne
More information
Cramér, Ivo
Born in 1921.
Swedish ballet dancer, choreographer and director.
A student of S. Leeder and a disciple of B. Cullberg, he developed a personal method influenced by the Laban-Jooss technique. In 1946, he founded his first, itinerant company with B. Cullberg and received second prize at the Copenhagen Choreographic Competition in 1947. He was ballet director at the Verde Gaio in Lisbon (1948-1949), he then worked for ten years as director and choreographer on operettas and musicals.
In 1957, for the Royal Swedish Ballet, he produced “The Prodigal Son" (1957, mus. Alfven), a ballet inspired by rural 18th C paintings and considered “national” masterpieces, and still part of the company’s repertoire. With his wife, Tyyne Talvo, he founded a company (1967-1986) that crossed the country with their productions, including in small theatres. He then directed the Royal Swedish Ballet (1975-1980).
He was a prolific and skilled choreographer with a great sense of theatre. He often dealt with themes connected to history or everyday life and stamped with a deep sense of the religious. In the 1980s, he specialised in the reconstruction of old ballets, including "Arlequin, Magicien d’Amour" (1984, based on Marcadet), “La Dansomanie" (1985, based on P. Gardel), "Médée et Jason" (1992, based on Noverre), presented at the Historic Theatre of Drottningholm, and also in France, thanks to R. Nureyev, as ”La Fille Mal Gardée" (1989) was performed in Nantes with the original score.
Source: Dictionnaire de la Danse, Larousse, éd. 1999, en ligne
Plasson, Fabien
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
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.
Night ballet
Indian dances
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.
les ballets C de la B and the aesthetic of reality
Why do I dance ?
Strange works
Unconventional contemporary dance shows which reinvent the rapport to the stage.
Artistic Collaborations
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.
The Dance Biennale
Female / male
A walk between different conceptions and receptions of genres in different styles and eras of dance.
Hand dances
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.
The “Nouvelle Danse Française” of the 1980s
In France, at the beginning of the 1980s, a generation of young people took possession of the dancing body to sketch out their unique take on the world.
The national choreographic centres
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!
Genesis of work
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff