Transfiguration
Attention !
Transfiguration
Transfiguration
"The human face has not yet found its face and it is up to the painter to give it ..." Antonin Artaud
Transfiguration's performance is the story of the sculptor's never satisfied desire to give life to his creation. "In a gesture of despair, I immerse myself in clay with my own body, to give life to the work. I sculpt on my head strange masks moving according to my feelings, erasing my identity and becoming a living work of art, between puppet and puppeteer. This blind work forces me to look inside myself in order to reveal the different identities that possess me. Over-modeling, piercing, erasing are required with increasingly thick layers of clay, producing a sort of transition from the "Holy Face" to the "Meat Head". It is a ritual where the hands dance on the face faster than the thought and bring out intimate and deep perceptions. This solo work can evolve in two, the objective remains the same, but something of our relationship to the other then also is as trans-figured. I am flabbergasted to see how normal people think it is to be alive. My whole goal is to account for the very strangeness of being there. The disfigurement in art is for me a means, by the very power of the images that can appear, to reach this awareness ”
First presented in 1998 at Galerie Marie Vitoux (Paris). In 2020, more than 300 performances took place in 25 different countries.
« Sagazan’s transfiguration, has to be one of the most original, incredible things you’re likely to see. » THE GUARDIAN
Source: Olivier de Sagazan
More information: olivierdesagazan.com
de Sagazan, Olivier
Olivier de Sagazan was born in Congo in 1959. He studied biology. Teaches for two years then embarks on painting. Work then on the third dimension: sculpture, then finally performance. For the past thirty years these three mediums have been constantly nourishing each other, living arts taking an increasingly important place. He is invited to collaborate with many artists from cinema, fashion or music: Ron Frick for the film Samsara, Bartosz Konopka, Qiu Yang, Gareth Pugh, Nick Knight, FKA Twigs, Mylène Farmer...
In 2020, he created a work with 6 performers: "Ainsi sois moi", then collaborated with Wim Vandekeybus for a creation: "Hands do not touch my precious Me".
Source: Olivier de Sagazan
More information: olivierdesagazan.com
Transfiguration
Artistic direction / Conception : Olivier de Sagazan
Interpretation : Olivier de Sagazan
Duration : 50'
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”.
James Carlès
Bagouet Collection
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
La part des femmes, une traversée numérique
Qudus Onikeku - Reclaim a forgotten memory
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
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.
DANCE AND DIGITAL ARTS
Black Dance
James Carlès, dancer and choreographer and specialist of Afro-American dance, evokes the origin of current-day urban dances. From Africa to the United States via Europe, he emphasizes their hybrid style and puts their social and political dimension into perspective.
A myriad of videos, photos, illustrations and additional resources complement this interview.
Why do I dance ?
Social dances, anti-establishment, protest dances, rhythms or identities, rituals or pleasures...
There are a myriad of reasons for dancing and a myriad of points of view.
A webdoc to discover, enhanced with extracts from performances and accounts from amateurs... all the right reasons for dancing!
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.
Round dance
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.