"Since Professor, Maud Le Pladec does research on dance connections on the expressive potential of contemporary music. From Fausto Romitelli's rough distortions to Julia Wolfe's rhythmic constructions, she clears sound territories that push her to challenge her choreographic vocabulary - inventing forms that dialogue, interact, resonate, or rub against the singularity of these riffs, frequencies and loops. Continuing the exploration of American post-minimalist music begun with Democracy, Concrete dives into a dense and colourful material. Written in the mid-1990s, Michael Gordon's Trance suggests the minimalist influence of the 80s and 90s noise filter: this score, both repetitive in its structure and baroque in its textures, allows him to experiment with aesthetic hybridizations, where the orchestra collides with pop, glam-rock with meditation.
frenetic dancefloor to the immobility of the statues. Like intercessors who circulate the intensity of the instruments to the bodies and the bodies to space, they never cease to interact or disturb the musical flow, to blend into it or to widen its perimeter. Connected to alternating current, their silhouettes highlighted by light drift along these transes as signs bearing intertwined reference layers. Between inner journey and transformation of space, Concrete deploys different levels of listening and porosity to music. Invisible or overexposed, the dance digs into the holidays, cuts the scene, erases, rewrites, highlights, amplifies - activating a phantom, subliminal perception, where everything seems to float between infinite speed and vibratory immobility. »
— Gilles Amalvi

"Since Professor, Maud Le Pladec does research on dance connections on the expressive potential of contemporary music. From Fausto Romitelli's rough distortions to Julia Wolfe's rhythmic constructions, she clears sound territories that push her to challenge her choreographic vocabulary - inventing forms that dialogue, interact, resonate, or rub against the singularity of these riffs, frequencies and loops. Continuing the exploration of American post-minimalist music begun with Democracy, Concrete dives into a dense and colourful material. Written in the mid-1990s, Michael Gordon's Trance suggests the minimalist influence of the 80s and 90s noise filter: this score, both repetitive in its structure and baroque in its textures, allows him to experiment with aesthetic hybridizations, where the orchestra collides with pop, glam-rock with meditation.

frenetic dancefloor to the immobility of the statues. Like intercessors who circulate the intensity of the instruments to the bodies and the bodies to space, they never cease to interact or disturb the musical flow, to blend into it or to widen its perimeter. Connected to alternating current, their silhouettes highlighted by light drift along these transes as signs bearing intertwined reference layers. Between inner journey and transformation of space, Concrete deploys different levels of listening and porosity to music. Invisible or overexposed, the dance digs into the holidays, cuts the scene, erases, rewrites, highlights, amplifies - activating a phantom, subliminal perception, where everything seems to float between infinite speed and vibratory immobility. »

— Gilles Amalvi

After completing the Ex.e.r.ce training at CCN Montpellier, Maud Le Pladec performs for several choreographers such as Georges Appaix, Emmanuelle Vo-Dinh, Loïc Touzé, Mathilde Monnier, Herman Diephuis, Mette Ingvartsen and Boris Charmatz. In 2010, she created her first piece Professor, choreographic piece for three performers on the music of Fausto Romitelli. In 2011, she created Poetry second part of a diptych around Fausto Romitelli. In 2012, she initiated To Bang on a Can, a research and creation project with three pieces and various artistic projects over four years (2012-2015). Ominous Funk and Demo, around and from the musical work of composers David Lang and Julia Wolfe, will be the starting point of this long-term project.
In 2013, Maud Le Pladec is a laureate of the Hors les Murs program at the Institut français and is conducting a research in New York on the current of post-minimalist American music. From this research came the creation of Democracy, a piece for five dancers and four drums (Ensemble TaCtuS) and Concrete (2015), a major project conceived for five dancers and nine musicians from Ensemble Ictus. In 2015, Maud Le Pladec was invited by the Lille Opera to collaborate on the creation of the 5 Xerse Opera (Cavalli / Lully, directed by Guy Cassiers, musical direction Emmanuelle Haïm / Concert d'Astrée). That same year, she initiated a new cycle of creations around the word given to women by co-creating Hunted with New York performer Okwui Okpokwasili.
Her works have been awarded with several prizes and distinctions: prize of the choreographic revelation of the Syndicate of the French critic in 2009, prize Garden of Europe in 2010, Knight of the order of arts and letters in 2015.
In 2016, she worked at the Opéra National de Paris on Eliogabalo (Francesco Cavalli) with director Thomas Jolly and under the musical direction of Leonardo Garcia Alarcon. At the same time, Maud Le Pladec is an associate artist at La Briqueterie – CDCN in the Val de Marne and continues to dance in the plays of Boris Charmatz (Levée des conflits, Enfant, Manger, 10000 gestes). Since January 2017, she succeeds Josef Nadj and directs theCentre chorégraphique national d'Orléans.
She created Moto-Cross (The Subsistances / Biennale Val de Marne), Je n'ai jamais eu envie de disparaître with the author Pierre Ducrozet as part of Concordan(s)e festival and Borderline in collaboration with the director Guy Cassiers, presented at Festival d’Avignon. In 2018, she created her last piece Twenty-Seven Perspectives, performance for 10 dancers built around Schubert’s Unfinished Symphony. In May 2020, she will create a new piece with for CCN - Ballet de Lorraine: Static shot.
Source: CCN d'Orléans
More information: https://www.ccn-orleans.com

Since she graduated from the Fine arts school in Rennes in 2001, Julie Pareau has been working on video and writing. Her videos have been viewed by the public, in particular in Jussieu for the Nuit-blanche Paris, on an invitation by Hou Hanru, in 2004. Between 2004 and 2005, she contributed to the Hypercourt review: nos. 2 and 4, and to the collective work Renews 2 ENFIN !, published by the éditions è®e.

Since 2006, she has stepped up her work as technician and video artist for the performing arts, with companies, musicians and theatres. 

In particular, she created the videos for the Oratorio L’inconnu me dévore, a show staged in 2007 by Jean-Michel Fournereau, with the vocal ensemble Melisme(s) and some of the musicians from the Orchestre National de Bretagne. She also works with the musician Nincaleece for whom she signs the stage videos.

Source: Lumières d'août

More information: juliepareau.fr

Directed since January 2017 by Maud Le Pladec, the National Choreographic Center of Orleans (CCNO) places the issue of audiences at the heart of its priorities. Artistic creation in all its forms, approached transversally, encompasses the project. In all its dimensions and for all audiences. The CCNO invites people to share and to explore: the before and the after, and the around. Monday after-work workshops, Saturday brunches, festivals, classes and workshops, performance art, open events, conferences, participatory artistic creations – all resonate together with the creative work of the artists in residence at the CCNO or programmed at the Théâtre d’Orléans. 

The CCNO opens its doors as widely as possible, roaming the city and its surrounding areas, their public spaces, schools and associations, initiating projects in partnership “with” – in a movement of “going towards”.

Multiplying artistic practices and perspectives, giving impulse to a permanent back and forth between seeing and doing – for audiences as well as for amateurs of all forms of dance. It is all a question of accessibility. Making encounter possible. Creating connections. 

Make the city dance, rendering each body visibly present in our shared space.

As part of the Théâtre d’Orléans – along with the National Stage, the National Dramatic Centre, and the CADO – the CCNO contributes to the collective dynamic of this artistic quarter, favoring development of creative and innovative projects to the benefit of its audiences.

Teaser : vimeo.com/155504035

Full movie : vimeo.com/146961899