Une danse blanche avec Eliane
2006
Choreographer(s) : Giron, Sylvie (France) Bagouet, Dominique (France)
Present in collection(s): Maison de la Danse de Lyon
Une danse blanche avec Eliane
2006
Choreographer(s) : Giron, Sylvie (France) Bagouet, Dominique (France)
Present in collection(s): Maison de la Danse de Lyon
Une danse blanche avec Eliane
A solo created on January 4th 1980 for the preview gala of the Maison de la Danse in Lyon, inspired by the Suite pour Violes, Sous la Blafarde and Danses Blanches.
Recrea ted by Sylvie Giron, on June 13th 2000 for the Nuits des 20 Ans (20th Anniversary Nights) at the Maison de la Danse in Lyon.
Source: 2006 – 2007 season programme
About Une Danse Blanche avec Eliane / Transmission in winter 2000
In 1980, Dominique Bagouet created Une Danse Blanche avec Eliane for the preview evening of the Maison de la Danse in Lyon.
This work was made up of three extracts from older choreographies, replayed for the occasion in another relationship to space and music and thus, inevitably, to interpretation.
In 2000, for the gala celebrating the 20th anniversary of the Maison de la Danse, I received a proposal to revive this dance with Eliane Lencot, musician and original partner of the work.
This was an ideal opportunity to take stock of a universe dear to me and in which I had worked for a long time.
We also toured this solo/duo in Matière Première in 2002.
Quite naturally, I believed it was time to transmit this work to today’s dancers, as it has something that is fundamentally human, rigorous and playful all at the same time.
Rigorous in writing, dance asserts itself as a language in its own right.
Playful for the place given to the interpreter.
Source: Sylvie Giron, November 2005 (CCN - Ballet de Lorraine programme)
Giron, Sylvie
Sylvie Giron danced for ten years in the compagnie Bagouet and in the companies founded by Daniel Larrieu, Geneviève Sorin and Jean-Marc Forêt, Catherine Diverrès, Susan Buirge, Bernard Glandier, Philippe Decouflé, Mathilde Monnier, Thomas Lebrun and Foofwa d'Imobilité.
She was co-head of the pedagogical section and the vocational integration unit of the Dominique Bagouet-Montpellier National Choreographic Centre along with Bernard Glandier, from 1991 to 1993. She taught regularly in a variety of contemporary and classical companies, in regional and national conservatories, running workshops for contemporary dancers and actors.
A founder member of Les Carnets Bagouet Association, she contributed several times to Dominique Bagouet's choreographies.
Sylvie Giron has also created a number of choreographies, including Ballade, a solo for the Choré-Graphique Festival in Tours in 1996; Plupart du temps, for the Danse(s) Festival at the Quartz in Brest in 1998; Ici et là, co-created with Yann Raballand, in October 2005; Petits matins, a trio with Daniel Larrieu and Jean-Charles Di Zazzo who performed with her, in 2007; Dedans dehors, a choreographic promenade in natural spaces in 2008; Conférence dansée with Jean-Charles Di Zazzo at the Lux in Valence in 2009; Une parcelle at the Magnan Theatre in Nice in 2010 and Des danses blanches, based on one of Dominique Bagouet's choreographies, in Montpellier. She also choreographed Olivier Ducastel and Jacques Martineau's musical Jeanne et le garçon formidable (1998). In 2000, she sketched the dance for Drôle de Félix and then in 2005, the danced sequences for Crustacées et Coquillages by the two aforementioned directors.
Source : The company Les carnets Bagouet 's website
More information
Bagouet, Dominique
Angoulême, July 9 1951 - Montpellier, December 9 1992
From 1965, Dominique Bagouet received a classical instruction from Rosella Hightower in Cannes, and was firstly engaged in the Ballet du Grand Théâtre of Geneva at Alfonso Cata's in 1969. He danced the following year with the Félix Blaska's company and joined Béjart's 20th Century Ballet in Brussels. The experience lasted two years and continued with the Chandra group (where Maguy Marin also worked).
Back to Paris in 1974, Dominique Bagouet took tuitions with Carolyn Carlson and Peter Goss. He also danced in the Joseph Russillo's, Anne Béranger's and Peter Goss' companies. Then he left for the United States where he discovered with Jennifer Muller, Lar Lubovitch and others, the techniques of the American schools.
Back to France in 1976, he presented his first choreography “Chansons de nuit” at the Concours de Bagnolet and won the first prize with a mention for research. He then founded his first company. He created play after play, at a fast pace he deplored, in order to make his company survive. Until 1979, he created 14 plays, sometimes hastily and unsatisfactorily.
With “Sous la blafarde”, the young choreographer began to stand out and Montpellier became his haven: the town welcomed the company and gave it the resources to exist as Bagouet was asked to set up and run the Centre Chorégraphique Régional de Montpellier. Besides, he was to create in this town the Festival International Montpellier Danse that he would run until 1982.
Dominique Bagouet created then some of the most outstanding plays in French contemporary choreography, from “Insaisies” (1982) to “Necesito, pièce pour grenade” (1991), the last commission written to celebrate the 500th anniversary of the Spanish town.
With plays such as “Déserts d'amour” (1984), “Le Crawl de Lucien” (1985) and “Assaï” (1986), Dominique Bagouet clearly established his own personality and style. All these plays registered his very particular style, sometimes referred to as ‘neobaroque', but above all very subtle and inventive. Bagouet's choreographic approach developed the dance movement with numerous short gestures (movements with hands and feet, special incline of the chest…) with terrific precision and no mannerisms.
Moreover, and this is another characteristic of Bagouet, the choreographer always managed to work with talented artists, such as Christian Boltanski, Pascal Dusapin for “Le Saut de l'ange” (1987), Tristan Murail for “Déserts d'amour” or the actress Nelly Borgeaud for the superb “Meublé sommairement” (1989) choreographically adapted from a novel by Emmanuel Bove.
He also directed two films with Charles Picq: “Tant mieux, tant mieux!” (1983) and “Dix anges, portraits”(1988), from “Le Saut de l'ange".
If a Bagouet style existed, it would also lie in this curiosity which influenced a whole generation.
His company's dancers founded in 1993 Les Carnets Bagouet, an association dedicated to preserving and passing on the choreographer's artistic heritage. They offer the repertoire to other companies and schools.
Source: Extract of “99 biographies pour comprendre la jeune danse française” in les saisons de la danse, summer 97, special issue.
More information: www.lescarnetsbagouet.org
CCN - Ballet de Lorraine
Since acquiring the CCN title in 1999, the Centre Chorégraphique National - Ballet de Lorraine has dedicated itself to supporting contemporary choreographic creation. As of July 2011 the organization is under the general and artistic direction of Petter Jacobsson.
The CCN – Ballet de Lorraine and its company of 26 dancers is one of the most important companies working in Europe, performing contemporary creations while retaining and programming a rich and extensive repertory, spanning our modern history, made up of works by some of our generations most highly regarded choreographers.
The CCN functions as an art center and venue for multiple possibilities in the fields of research, experimentation and artistic creation. It is a platform open to many different disciplines, a space where the many visions of dance of today may meet.
More information : http://ballet-de-lorraine.eu
Une danse blanche avec Eliane
Choreography : Dominique Bagouet
Interpretation : Simon Courchel
Original music : Eliane Lencot, Jo Privat, Jean Didion (accordéon)
Costumes : D'après Christine Le Moigne / réalisé par l'atelier Couture du Ballet de Lorraine
Other collaborations : Transmission Sylvie Giron pour la danse et Eliane Lencot pour la musique // Avec la collaboration des carnets Bagouet - Remerciements aux Editions Universelles
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.
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!
les ballets C de la B and the aesthetic of reality
DANCE AND DIGITAL ARTS
Black Dance
Why do I dance ?
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.
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.
Hip hop / Influences
This Course introduce to what seems to be Hip Hop’s roots.