Part of the Concordanse festival
A man and a woman in a space, but each in their own bodies and with their own organs inside those. We catch a glimpse of a presence. Is someone there? A person, or a spirit? Perhaps a ghost? A human form onto which thoughts are projected, a body that we lend sensations, an animalism with intriguing subjectivity. The figure begins to disappear under the gaze of another, who gives the account of this disappearance.
Updated: juin 2016
Born in 1974 in Grenoble, Fabrice Lambert trained at the Centre national de danse contemporaine d'Angers (National Centre for Contemporary Dance Angers) (1994-1996). Once he finished his training, he founded the Expérience Harmaat with Yuha-Pekka Marsalo, to create two pieces: Ethogrammes and Étude pour 4 mouvements (Study for four movements) (1997). He joined the Kubilai Khan Investigations collective (1996-1998), then the Carolyn Carlson dance company (1997-1998).
In 1998, he began a long-term collaboration with Catherine Diverrès at the Centre chorégraphique national de Rennes (National Choreographic Centre in Rennes), which lasted until 2002. He has also worked with François Verret, Emmanuelle Huynh and Rachid Ouramdane. Since 2000, Fabrice Lambert has been the artistic director of the Expérience Harmaat, where he continues his creative and research work.
THE EXPÉRIENCE HARMAAT
The Expérience Harmaat is a space in which artists from various disciplines come together to work on the projects of the choreographer Fabrice Lambert. Their common goal is to examine the concept of movement, each in their own artistic field. Since 2000, visual artists, video artists and dancers have participated in the creation of many pieces: “No body, never mind” (2001), “TOPO” (2001), “Le Rêve” (The dream) (2002), “Play Mobile” (2003), “Imposture” (2004), “Frédéric Lambert” (2004 – commissioned by the SACD / Le Sujet à Vif), “Abécédaire” (alphabet book) (2005), “Meutes” (packs) (2006), “Gravité (gravity) (2007), “D'Eux” (From them) (2008), “Virga” (2009 – commissioned by the SACD / Le Vif du Sujet), “Solaire” (Solar) (2010), “Faux Mouvement” (False movement) (2012). These works have been performed both in France and abroad.
Longstanding loyalties are forged over the course of the projects: Hanna Hedman, assistant, dancer, teacher, Philippe Gladieux, lighting technician and video artist, and Ivan Mathis, dancer and lighting technician, have collaborated regularly with the Expérience Harmaat since 2001. The Expérience Harmaat enjoyed a three-year residence at the Manège, the Roche-sur-Yon national theatre, from 2003 to 2007, at the Theatre Le Vanves during the 2009/2010 season, and at the Ferme de Bel Ebat in Guyancourt during the 2011/2012 season. In 2012 it began a three-year residence at the CND (National Dance Centre) in Pantin, with the support of the Seine-Saint-Denis administrative department.
Updated: June 2013
Born in Chartres in 1971, Gaëlle Obiegly spent her childhood on the plains of Beauce – which she remembers as a time of solitude and boredom – before going to study art and Russian. She now lives and works in Paris. Her first novel, Petite figurine en biscuit qui tourne sur elle-même dans sa boîte à musique, (L'Arpenteur, 2000), the portrait of Gala, a lonely young woman. She has also published le Vingt-et-un Août (2002), and Faune (2005), an astonishingly intimate bestiary. The subect of her novel La Nature (L'Arpenteur, 2007) is particularly topical: 'A woman has become an object, a maid, a conquest, an actress, a starlet, an employee, an intellectual, a receptionist, a worker, a nun, a Trotskyist, a naturalist, a wife, a resistance fighter, a mother, a widow, a teacher – having been a child. A woman feels stripped of something because she is no longer incomparable. Who has betrayed her? Nature?' She has also published a text for young people, Le coyote et la fée (Le Baron Perché, 2007). In 2011, she invited readers to return to their childhood, the childhood of fictional art, with Le Musée des valeurs sentimentales (Verticales) and in 2013 with Mon prochain (Verticales) she takes on an exploration of the world, true/false reporting, a private notebook that doubles as a tale of adventure. A lucid and talented young writer, Gaëlle Obiegly stands out with her precise and very personal writing.
She occasionally works with journals, especially L'Impossible and Chroniques purple.
Centre national de la danse, Réalisation
Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).
Choreography : Fabrice Lambert
Text : Gaëlle Obiegly
Duration : 30 minutes
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
Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!
DANCE AND DIGITAL ARTS
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.
Dance and performance
Here is a sample of extracts illustrating burlesque figures in Performances.
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.
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.
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.