Skip to main content
Back to search
  • Add to playlist

Adieu et merci

Numeridanse.tv 2013

Choreographer(s) : Laâbissi, Latifa (France)

Present in collection(s): Numeridanse.tv

en fr

Adieu et merci

Numeridanse.tv 2013

Choreographer(s) : Laâbissi, Latifa (France)

Present in collection(s): Numeridanse.tv

en fr

Adieu et merci

The cosmos, it’s everywhere, as Marguerite Duras used to say: « Here is everywhere and everywhere is here.»  There is a convention, an object, a performance, a space shuttle. An object which surrounds us (the theatre), an object in front of me: myself. It’s the same. In front of me or around me, it’s always myself. Adieu et merci (Farewell and thank you). Nothing will have taken place but the place. Axel Bogousslavsky said recently on a radio programme that the voice of Marguerite Duras — an inimitable, recognisable voice — allowed us to hear in its journey what there was before birth (nothing) and what there is after death (nothing). That this voice, so harmonically rich, could suggest this: the cosmos of everything we do not want to think about. Latifa Laâbissi has this sorceror’s power, this gift. Adieu et merci. I am here, but momentarily. Instantaneously. She dances a dance which is – in my view – not a solo, but a quartet. At least. She deploys a war machine in the round, cyclical and effective, seeing what is at stake: the before and after, separated by us, our passage.
 

Source : Yves-Noël Genod


More information : http://figureproject.com/

Laâbissi, Latifa

Choreographic works, installations, lecture demonstrations, pluridisciplinary collaborations: mixing genres, reflecting upon and redefining formats, Latifa Laâbissi’s work seeks to bring onstage multiple offstage perspectives; an anthropological landscape in which stories, figures and voices are placed and highlighted. Dance “codes” are disturbed by recalcitrant bodies, alternative stories, montages of materials infiltrated by certain signs of the times.

Formation /deformation
After studying at the Cunningham Studio in New York, Latifa Laâbissi began working with specific themes, including the question of the body as a zone of multiple influences, bisected by subjective and heterogenously cultural strata. Going against the prevailing abstract aesthetic, she extrapolated a movement vocabulary built from the confusion of genres and social postures, from the beginnings of modernity: a disguising of the identifications revealing the violence of conflicts involving the body and returning a twisted, contorted image.
In 2001, she created Phasmes, a work haunted by the ghosts of Dore Hoyer, Valeska Gert and Mary Wigman. She came back to Valeska Gert in the form of a “massaged lecture”, Distraction, with the dance historian Isabelle Launay, then to Mary Wigman in a lengthened version of her Witch Dance, which she called Écran somnambule [Somnambulist screen].

Disfigure
Beginning with her earliest collaborations, Laâbissi’s use of the voice and of the face as a vehicle for minority status and accents became inseparable from her dance movement. Starting in 2000, she began this process on Morceau with Loïc Touzé, Jennifer Lacey and Yves-Noël Genod. Working with postures borrowed from the grotesque, she confirmed her strategy of sliding identities and deploying different registers of representation. Figure is the name for this montage – in which auto-fiction, derision, statements, contemporary materials and visions and ghosts of dance mix and interact. In 2002, I love like animals continued in the development of relationships between the voice and the body, seeking to further disturb our reading of choreographic representation.

Disrupt
Digging subterranean links between the history of performance and collective imagination, the figure is Laâbissi’s tool for exposing certain symptoms of colonial denial/repression, and for turning against itself the mechanisms of alienation it produces. Created in 2006, Self Portrait Camouflage is indeed a critical examination of the images of otherness – somewhere between showing the body, a burlesque show and the direct confrontation of political symbols. Histoire par celui qui la raconte (2008) extends her deconstruction of the narrative and her use of the grotesque in a wide spectrum of references. In her latest work, Loredreamsong (2010), she continues this exploration in the form of a duo in which fragments of speeches, subversive rumors, states of rage and irony crash into each other, derailing subjective, political and narrative reference points. It is the unabashed reappropriation of an ambiguous imagination, manipulated by two ghosts as if it were explosive material.

Displace
For Latifa Lâabissi the artistic action implies a displacement of traditional modes of production and perception: transmission, the sharing of knowledge, materials and the porosity of formats are inseparable from the creative process. In 2005, she led the Habiter project, which examines different, everyday spaces using video. The opening-out of her working practice into other fields of research brought her to begin working at different venues, in different contexts – universities, art schools and the French national choreographic centers. During her guest residency at the Musée de la danse [Dancing Museum] in March of 2010, she organised Grimace du réel [Grimace of the real] – a pluridisciplinary manifestation putting into perspective the historical, textual and cinematographical sources used in the creation of the work. Sources, materials – documentary films, fictions and ethnographical, sociological and philosophical works continue to feed into her work and into her modalities in intervention, dissemination and experimentation with artistic forms.

Gilles Amalvi (Traduction Sara Sugihara)

Adieu et merci

Artistic direction / Conception : Latifa Laâbissi

Interpretation : Latifa Laâbissi

Set design : Nadia Lauro

Lights : Yves Godin

Costumes : Nadia Lauro / Latifa Laâbissi

Technical direction : Ludovic Rivière

Sound : Manuel Coursin

Other collaborations : Remerciements à Isabelle Launay, Yves Noël Genod, Jean-Christophe Paré, Francois Chaignaud

Production / Coproduction of the choreographic work : Figure Project – Rennes / Production déléguée : Latitudes Prod – Lille Coproduction : Les Spectacles vivants – Centre Pompidou – Paris, Festival d’Automne à Paris, Musée de la danse -CCNRB, Théâtre National de Bretagne – Rennes, Le Phare – CCN du Havre Haute-Normandie, Open Latitudes network, Le Vivat – scène conventionnée d’Armentières, Institut français / Ville de Rennes et Rennes Métropole / Avec le soutien du Tanzquartier Wien et du Centre national de danse contemporaine Angers / direction Emmanuelle Huynh (2012)

Our videos suggestions
03:04

Lobby

Zebiri, Moncef (France)

  • Add to playlist
09:22

Insensiblement

Gourfink, Myriam (France)

  • Add to playlist
04:04

Myriam Gourfink, un Temps autre

Gourfink, Myriam (France)

  • Add to playlist
04:39

Next Days

Robbe, Hervé (France)

  • Add to playlist
03:04

The Rite of Spring

Nijinsky, Vaslav (Monaco)

  • Add to playlist
12:50

Extraits de répertoire

Preljocaj, Angelin (France)

  • Add to playlist
06:14

Terpsichore

Massin, Béatrice (France)

  • Add to playlist
06:19

Fantaisies

Massin, Béatrice (France)

  • Add to playlist
04:39

Hans was Heiri

Zimmermann, Martin (Switzerland)

  • Add to playlist
19:43

Infundibulum

Paccagnella, Mauro (Belgium)

  • Add to playlist
53:00

Reamker, danse avec les dieux

  • Add to playlist
13:42

La danse de l'épervier

Yano, Hideyuki (France)

  • Add to playlist
06:47

Factory

Robbe, Hervé (France)

  • Add to playlist
03:00

Géométrie de caoutchouc

Bory, Aurélien (France)

  • Add to playlist
02:27

Azimut

Bory, Aurélien (France)

  • Add to playlist
02:59

Questcequetudeviens ?

Bory, Aurélien (France)

  • Add to playlist
09:45

Traversées

Dubois, Kitsou (France)

  • Add to playlist
03:00

Le Songe

Maillot, Jean-Christophe (Monaco)

  • Add to playlist
03:00

Les arpenteurs

Noiret, Michèle (Belgium)

  • Add to playlist
Our themas suggestions

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”. 

Parcours

fr/en/

LATITUDES CONTEMPORAINES

Exposition virtuelle

fr/en/

Bagouet Collection

Exposition virtuelle

fr/en/

The BNP Paribas Foundation

Exposition virtuelle

fr/en/

Indian dances

Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!

Parcours

fr/en/

DANCE AND DIGITAL ARTS

Exposition virtuelle

fr/en/

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!

Webdoc

fr/en/

Artistic Collaborations

Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians

Parcours

fr/en/

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.

Parcours

fr/en/

Dance and performance

 Here is a sample of extracts illustrating burlesque figures in Performances.

Parcours

fr/en/

Round dance

 Presentation of the Round’s figure in choreography.

Parcours

fr/en/

The Dance Biennale

Exposition virtuelle

fr/en/

Female / male

A walk between different conceptions and receptions of genres in different styles and eras of dance.

Parcours

fr/en/es/de/pl/pt-pt/

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.

Parcours

fr/en/es/de/pl/pt-pt/

Hip hop / Influences

This Course introduce to what seems to be Hip Hop’s roots.

Parcours

fr/en/es/de/pl/pt-pt/

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.

Parcours

fr/en/

Contemporary techniques

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.

Parcours

fr/en/

Vlovajobpru company

Exposition virtuelle

fr/en/

VAISON DANSES

Exposition virtuelle

fr/en/

40 years of dance and music

Exposition virtuelle

fr/en/
By accessing the website, you acknowledge and accept the use of cookies to assist you in your browsing.
You can block these cookies by modifying the security parameters of your browser or by clicking onthis link.
I accept Learn more