Waiting
Waiting
Waiting
"My body is waiting for something… That is all there is to it. My subject is Onan, the sensual Biblical character who gave his name to onanism. The Bible and sensuality… I find mixtures like this stimulating. Onan is absolute, total pleasure in terrifying solitude.
Behind this quest for solitary ecstasy lies the fear of nothingness, that point where life and death come face to face. Sometimes that vacuum fills my body like a desire for death.
DESIRE… There is a desire that vibrates inside me, and for many years I have been in search of that precise point where the trembling lies… It is perhaps this wave of vibration that is the source of my dancing."
Source: Carlotta Ikéda
More information: ariadone.fr/eng
Ikeda, Carlotta
Sanae Ikeda was born in Fukui, a village on the Japanese Sea: « I used to walk in the country, and dizzy with all the smells of the plants, with all the nuances in the atmosphere, I danced » (...)
The kind of dance you learn came later, in Tokyo. « Rice sprout » (Sanae) was 19 when she first went through the door of a « dance course ». But at that time, the Butô, that « dance of darkness » was born in Japan. Tatsumi Hijikata had invented it, that angel and devil who was to proclaim in 1968 the revolt of the flesh. Like other young people in her generation, Carlotta threw her body into battle. This life-long involvement can by no means be regarded as naiveorinnocent. (...)
Whoever has seen Carlotta Ikeda dancing knows to what point she masters that art of metamorphosis, how she can make it at the same time obvious and invisible, how she can extend the time of the vision in a « slowness of movement allowing all possible interpretations » (Paul Claudel). The metamorphosis at stake here is not that of an histrion, one who knows how to make a caricature out of expressive imitations. In Carlotta Ikeda, this is a change of inner state, involving the whole body (...)
Ariadone, the company that Carlotta Ikeda founded in 1974, refers to that Ariane s thread, that follows Carlotta Ikeda from one show to the next (...)
Source: Cie Ariadone 's website (Jean-Marc Adolphe)
More information : ariadone.fr
Waiting
Choreography : Carlotta IKEDA
Interpretation : Carlotta IKEDA
Artistic consultancy / Dramaturgy : Stéphane VERITE
Set design : Michel BOULANGER
Original music : Kamal HAMADACHE
Lights : Eric LOUSTAU-CARRERE
Sound : Kamal HAMADACHE (régie)
Other collaborations : Laurent RIEUF (Régie Plateau)
LATITUDES CONTEMPORAINES
[1930-1960]: Neoclassicism in Europe and the United States, entirely in tune with the times
The Ballets Russes paved the way for what would become known as: neo-classical. Back then, the term “modern ballet” was frequently used to define this renewal of aesthetics: a savvy blend of tradition and innovation, which each choreographer defined in their own way.
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!
[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
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.
Round dance
Presentation of the Round’s figure in choreography.