Hear ye, hear ye! You will find in this film everything you’ve loved in Decouflé’s Big Top: the windmill man with his weathervane arms, the cantankerous couple with their flying arguments, the mysterious flea handler. Rediscover Christophe Salengro, the friendly giant, the king of gymnastic tango. Enjoy again the electric solo of the fairy Michèle Prélonge and the mischievous contortionists.
Filmed as close to the bodies as possible, Decouflé’s show verges on the mysterious and becomes almost abstract. Beauty of the frames that only reveal later what they contain. Touches of impressionist images selecting a few acts but not omitting the strange final crawling that ends this tonic and uplifting show on a static and melancholic note. Triton, created at the Festival d'Avignon in 1990, is the work that introduced Philippe Decouflé to the general public. Many choreographic elements in this show were used again and developed by some of the company’s interpreters for the opening ceremony of the Albertville Winter Olympics.
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
Vincent Hachet born August 23, 1962 in Toul, is a French director and composer of music.
Artistic direction / Conception : Philippe Decouflé
Choreography : Philippe Decouflé
Interpretation : Herman Diephuis, DCA (cie), Murielle Corbel, Eric Martin-Gousset, Michèle Prélonge, Marion Balester, Véronique de Franoux, Christophe Salengro
Original music : Joseph Racaille, Parazite
Costumes : Philippe Guillotel
Production / Coproduction of the video work : Gédéon, DCA, Arcanal, Canal +, Centre Pompidou, participation ministère de la Culture et de la Communication (DMD)
Duration : 25'
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 BNP Paribas Foundation
[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.
Why do I dance ?
Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians
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.
Contemporary Italian Dance : the 2000s
Panorama of contemporary dance practices in Italy during the 2000s.
Hip hop / Influences
This Course introduce to what seems to be Hip Hop’s roots.
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.
40 years of dance and music
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.