From her point of departure as a dancer, Ingun Bjørnsgaard’s strong visual approach to dance swiftly brought her to choreography. Educated at Statens Balletthøgskole, Norway, she moved directly to New York to dance at the Martha Graham School of Contemporary Dance, whose choreographic parameters still echo within the foundations of her work. Bjørnsgaard’s combination of formal precision and everyday pathos has been rewarded with a number of prestigious prizes and she is commissioned to work with prominent companies such as the Norwegian National Ballet, Carte Blanche, CCN - Ballet de Lorraine, Tanztheater Bremen, Komische Oper, Berlin, and GöteborgsOperans Danskompani. Through her own company, she has been able to rigorously follow her artistic vision together with an outstanding ensemble of dancers who sensitively engage in the creation of movement and dramaturgy. A focus on commissioned contemporary music in relation to music from the past, has always been an important part of the artistic process, and Ingun Bjørnsgaard’s restructuring of the present by means of historical elements from the basis of modernism. In her early works, she explored mythical female muses in award-winning performances such as Virgins in Norwegian Landscapes (1992) and Sleeping Beauty (1994). Bjørnsgaard’s exceptional take on the fleeting fragility of modern identity and its social foundations, gradually ventured into the complex relationship between the feminine and masculinity, in both men and women. An elevated intertextual dialogue with other art forms has evolved, with reference to e.g. Alain Resnais and Henrik Ibsen in Book of Songs (2002) and Hedda (2013), Monteverdi in Poppea (2009) and Edvard Munch in Omega and the Deer (2011). Ingun Bjørnsgaard’s company enjoys funding through the Arts Council Norway.
Source : Ingun Bjørnsgaard Prosjekt
More information : http://ingunbp.no/
From live stage images to life in images, the director and video artist Karim Zeriahen seems to have found the shortest way. Since the beginning of the 90s, when he worked in close relationship with choreographer Philippe Decouflé, he learned how to put the art of stage in motion, contemporary dance most of the time. Karim Zeriahen then starts a fruitful collaboration with Montpellier based choreographer Mathilde Monnier. Stop, Videlilah, day of night, short films adapted from her stage creations. Each time, Karim Zeriahen's camera takes over the place with movement, the body language is not frozen but magnified. Choreographer Herman Diephuis also joins this gallery of dancing portraits. Documentaries on figures such like Albert Maysles or Hubert de Givenchy and from Joe Dalessandro to Paul Morrissey, he sets a signature, a camera always in action with confidence.
Today the director goes further with a new project and tracks the subtle movements of the body language beyond the physical appearance. A collection of living portraits as unique pièces reminding us of the master portraitists of renaissance. These living natures consists in filming the subject in a certain amount of time, almost still, with signs of respiration, eye blinks, as if it were posing for a painting. They are then displayed on a flat screen with a memory card. With this collection starting, Karim Zeriahen, with his documentary and artist vision, interrogates himself about the virtual world filled with images. By taking a pause, and his models with him, he questions the way we look at things, the way we look at life.
Source: Philippe Noisette
En savoir plus: www.karimzeriahen.com
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
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 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.
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
Why do I dance ?
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.
The Dance Biennale
Contemporary Italian Dance : the 2000s
Panorama of contemporary dance practices in Italy during the 2000s.
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.
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
The national choreographic centres
Roots of Diversity in Contemporary Dance
Noé Soulier Rethinking our movements
Carolyn Carlson, a woman of many faces
Genesis of work
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff