Clémentine Baert has performed under the direction of Pascal Rambert, Georges Lavaudant, Bernard Sobel, Christophe Fiat, Oriza Hirata and Thomas Quillardet. Her regular collaborations with Robert Wilson’s projects from 1998 to 2002 in New York made her a cosmopolitan and singular artist.
In movies, she has worked with Jean-Charles Fitoussi, Emmanuel Mouret, Siegried Alnoy, Olivier Dahan, Philippe Lioret and Wim Wenders.
In 2001, at La Friche de la Belle de Mai in Marseille, she created her first performance, Intérieur à définir, which was shown also at the Festival des Informelles in Marseille: Scène nationale du Merlan, La Minoterie, Les Bernardines. at the festival des Jeunes Compagnies at the théâtre du Gymnase in Marseille, and at l’Usine de la Comédie de Saint-Etienne, in 2002.
A & P was founded in 2005. In May 2006, she created with Alexandre Meyer ECHO, a multidisciplinary project, a contemporary rock opera based on the myth of Echo in Les Métamorphoses d’Ovide. This show was performed at the Théâtre du Golfe (La Ciotat), in the C.D.N. de Dijon, at the Festival Frictions, at Mains d’oeuvres and at the Comédie de Saint-Étienne.
She creates in 2015 Alors est-ce que c’est là? at the Théâtre de Vanves, which will be seen again during the season 16-17 at the T2G and the CDN de Dijon.
The piece Un matin followed, a play for young audience from 5 years old, created in Vanves in 2016, whose tour included performance dates at the T2G, and will be on tour during the season 17-18.
In 2016-2017, she leads an artistic and cultural territorial residence in a school setting in Asnières and Gennevilliers, based on issues dealing with territory and identity. Intended for students of allophone and non-allophone classes, this residence will end with a public presentation at T2G in May 2017.
Adolescence et Territoire(s) is about commitment and the reasons to commit (or not) for (or against ) a cause, for (or against) someone. The work of writing and improvisation in real time will stand alongside texts of contemporary and classic authors. The question of the individual inside a group, of his perception of himself and of the others is at the core of our research. To which heroine or hero do they identify ? Are there still possible heroes according to them ?
In my artistic work I try to explore the difference between the inner thought of an individual and what he let transpire of himself. That constrast, that dichotomia is what I seek to describe and to understand in my writing and in my stage direction. To me, it seems particularly insteresting that the participants may also wonder how you artisticaly represent those things and I have my heart set on not instrumentalizing them but rather on making them actors in the artistic choices (of stage directing, space, lighting, music) that we will make.
I wish to create a meeting space between the genuine character of each participant and the experiment they will make of a text, of a new language they will have to make their own.
I would like to light up their reality by the possible fiction they are creating about themselves on one hand (through the text and their character) and by the means of a work of improvisation around the notion of commitment on the other hand. Therefore my wish is to make them get away of what they know about themselves, through the text and an attentive work of listening I will realize, using singing and dancing as other efficient mediums to convey a meaning.
Adolescence et Territoire(s) is an artistic and cultural education program initiated by Odéon théâre de l’europe in collaboration with l’espace 1789, etc. with the support of Vivendi
Adolescence et Territoire(s) est un programme d’éducation artistique est culturelle initié par l’Odéon-Théâtre de l’Europe en partenariat avec l’Espace 1789 de Saint-Ouen, le Théâtre Rutebeuf et la ville de Clichy-la-Garenne et le T2G – Théâtre de Gennevilliers. Avec le soutien de Vivendi Create Joy.
For 5 year old audience on
UN MATIN is a multidisciplinary show dedicated to children. This is a project that focuses on language, sounds and the meaning behind them.
UN MATIN is the story of a little boy, Joshua, who wakes up one morning with something missing. He cannot speak normally, but he seems to be the only one to worry about it.
Performance created on January 14, 2016 at the Théâtre de Vanves
Concept, text and interpretation: Clémentine Baert
Performer: Pierre Moure
Sound and composition: Frédéric Minière
Lighting design: Philippe Gladieux
Scenography: Lisa Navarro
Animation: Christian Wolckman
A woman leaves in search of a man and reflects on what he told her before disappearing. This man never ceased to make her dream about the history of his life, an extraordinary life, a hectic, heroic life.
Performance created March 26th, 2015, at the Théâtre de Vanves
Concept, text and interpretation: Clémentine Baert
Sound and composition: Alexandre Meyer
Lighting design: Philippe Gladieux
“I am experimenting with the idea of bringing together experiences that a priori would not meet. And it is mainly at these crossroads, between musical culture and dance culture, between high culture and popular culture, between past and present, but also between different borders – aesthetic and geographical – that are confronted the artistic realities in which I anchor my curiosity. » Maud Le Pladec
After following the masters Ex.e.r.ce at the CCN de Montpellier, Maud Le Pladec works as a dancer in the pieces of Emmanuelle Vo Dinh, Loïc Touzé and Latifa Laâbissi, Georges Appaix, Mathilde Monnier, Herman Diephuis and recently with Mette Ingvartsen (The Artificial Nature Project) and Boris Charmatz (Levée des Conflits, Enfant, Manger).
She has been creating her own pieces since 2010, which have been awarded several prizes and awards: prize of the choreographic revelation of the Syndicat de la critique française in 2010, Prix Jardins d’Europe in 2010.
Since January 1st 2017, Maud Le Pladec has been appointed the directorship of the Centre chorégraphique national d’Orléans.
“The music is in Maud Le Pladec’s choreographic work a place that could be described as essential: at the same time a basis, a method of composition, of acting power, it is what dance brings out: against which she struggles or leans, with what she dialogues or merges. For this creation, which follows her appointment to the direction of the Centre chorégraphique national d’Orléans, Maud Le Pladec wanted to return to the blank page, to ask what was her dance; as an opportunity to rethink the bases, modes of structuring. Without music? Not quite. Rather than placing these two mediums in the perceptual space to observe their frictions and their chords, she chose to
subtract.
The Twenty-seven perspectives mentioned in the title, refer to the work of the artist Rémy Zaugg, who has
engaged in his work 27 esquisses perceptives, the attempt to exhaust a painting by Cezanne. How to reexamine these artistic monuments belonging to the collective unconscious? In the manner of an “investigation of the perceptive act”, Maud Le Pladec, accompanied by the composer Pete Harden, dug out the structure of Schubert’s famous Unfinished Symphony to extract a series of subjective and fragmentary reinterpretations. By a radical act of dissimulation and spectralization of her presence, she moves the coordinates of the dance / music relation to open all the kinesthetic perspectives allowed by this negative inscription. The dancers become the writing of an inaudible music just as much as the vehicles of its renewed expressiveness. Act through this ghostly score that makes the dance vibrate, the tenfold, the tear, the bodies embark on a frenzied exploration of space. In a dialectic between enlightenment and madness, hollow and full, Twenty-seven perspectives introduces a constant back-and-forth between choreographic composition and hidden symphony: a virtual and virtuoso counterpoint between hearing and gaze, movement and vibratory traces silence in trompe-l’oeil.”
Gilles Amalvi
Creation 2018
Duration 60 min
Conception et choreography: Maud Le Pladec
Light design: Éric Soyer
Sound design: Pete Harden
Composer: Franz Schubert, Symphony No.8, “Unfinished” D 759 (1822-…)
Costumes design: Alexandra Bertaut
Assistant: Julien Gallée-Ferré
Interpretation : Régis Badel, Amanda Barrio Charmelo, Olga Dukhovnaya, Jacquelyn Elder, Simon Feltz, Maria Ferreira
Silva, Aki Iwamoto, Daan Jaartsveld, Louis Nam Le Van Ho, Noé Pellencin
Production:
Centre chorégraphique national d’Orléans
Coproductions:
Chaillot – Théâtre national de la danse, Festival Montpellier Danse 2018, Festival NEXT / Schouwburg Kortrijk & le Phénix scène nationale Valenciennes pôle européen de création, CDCN La Briqueterie – Biennale du Val de
Marne, MC2: Grenoble
Résidence de création au Théâtre d’Orléans en collaboration avec la Scène nationale
Moto-cross can be seen as a net launched behind oneself. A look at a past, the past of Maud Le Pladec, as well as items taken from the French political and musical scene from the 1980s.
Between intimacy and politics, culture and society, reality is reinvented under the eyes of the spectators, following freely free associations and slips of memory.
Piece created on February 9th 2017 at the Subsistances in Lyon
Conception, choreography, interpretation: Maud Le Pladec
Text: Maud Le Pladec with the participation of Vincent Thomasset
Scenography and light creation: Eric Soyer
Costume Design: Alexandra Bertaut
Discography: Julien Tiné
Musical device design: Pete Harden
Documentation: Youness Anzane
Rehearsal: Dalila Khatir
Choreography locking, waacking: Alice Liss Funk
External look: Julien Gallée-Ferré
General management: Fabrice Le Fur
Lighting: Nicolas Marc
Sound Department: Vincent Le Meur
Je n’ai jamais eu envie de disparaître, follows the trajectories of two bodies, one stubborn, awkward, shifted, the other rigorous, trained, aiming towards a greater mastery of things. These two ways of being in the world are opposed, intersecting, and coming together in a struggle between the temptation of chaos and the desire to organize it. We observe these two silhouettes on stage, who seek, fight, find, dance, trample, fall and rise in a furious and delicate body to body.
Piece created on March 8th 2017 at the Briqueterie, within the framework of CONCORDAN (S) E
With Maud Le Pladec, choreographer and Pierre Ducrozet, writer
Refugees are crossing the Mediterranean sea. At the risk of their own life, in makeshift boats, they encounter only a lack of understanding once on terra firma ; an ambiguous world beset by its own fears and issues, both concerned and powerless. Guy Cassier, stage director and director of the Tonnelhuis theater in Antwerp, chose the committed and provocative text of Elfriede Jelinek and proposed a collaboration to the choreographer Maud Le Pladec to interrogate our relation to the foreign(er ?) and our understanding capacities. « Actually, we can only speak about ourselves ». If it is a topical subject, it finds a possible way of representation through the effect of distanciation induced by the theatrical and choreographic work but also through the dreamlike images and the violence of the words of the Austrian author where the major mythological texts arise, filled by displacements of population and negotiation around their reception. Through three phases, the text and the scenic creation recreate those long nightmarish crossing through language and space, « to such an extend that the audience loses track of it, not knowing who i stalking from the europeans or the refugees, because these speeches get mixed up to a certain form of schizophrenia which is symptomatic of our society. » And that is when everyone helplessness becomes tangible/obvious.
(Fr) Texte Elfriede Jelinek / Traduction Tom Kleijn
Mise en scène Guy Cassiers
Chorégraphie Maud Le Pladec
Dramaturgie Dina Dooreman
Scénographie, costumes Tim van Steenbergen
Lumière Fabiana Piccioli
Vidéo Frederik Jassogne
Son Diederik De Cock
Avec Katelijne Damen, Abke Haring, Han Kerckhoffs, Lukas Smolders
Et les danseurs Samuel Baidoo, Machias Bosschaerts, Pieter Desmet, Sarah Fife, Berta Fornell Serrat, Julia Godina Llorens, Aki Iwamoto, Daan Jaarsveld, Levente Lukacs, Hernan Manchebo Martinez, Alexa Moya Panksep, Marcus Alexander Roydes, Meike Stevens, Pauline van Nuffel, Sandrine Wouters, Bianca Zueneli
If CONCRETE erases time and space to make all “culture” immediately present, it also erases the hierarchy between the elite and the popular. At the crossroads of a choreographic piece, a light show, a contemporary music concert or an installation, CONCRETE questions the status of the “fictional” world created by the work of art and its relationship to the real world “.
This piece was created on November 5th, 2015 at the TNB in Rennes, as part of Mettre en scène
Conception and choreography: Maud Le Pladec
Music: Michael Gordon (Trance)
Scenography lights: Sylvie Mélis, assisted by Nicolas Marc
Choreographic interpretations: Régis Badel, Olga Dukovnaya, Maria Ferreira Silva, Julien Gallee-Ferré, Corinne Garcia
Musical interpretations: Ensemble ICTUS: Dirk Descheemaeker (clarinet), Carlos Galvez Taroncher (clarinet), Gerrit Nulens (percussion), Tom Pauwels (electric guitar), Caroline Peeters (flute), Jean-Luc Plouvier Electric), Tomonori Takeda (clarinet), Ine Vanoeveren (flute)
Arrangement and composition voice: Pete Harden
Music Assistant: Tom Pauwels
Rehearsal: Dalila Khatir
Creation Costumes: Alexandra Bertaut
Scenography: Vincent Gadras
Documentation: Youness Anzane
General management: Fabrice Le Fur
Lighting: Nicolas Marc
Sound Department: Vincent Le Meur, Alex Fostier
Hunted is an incantatory project, a melody in which words, texts, songs, body and the music of Kalevi Aho are used. Hunted calls the figures of witches, inspired by the mythical characters of Medea, the witches of Mac Beth, Mary Wigman, Valeska Gert, Tatsumi Hijikata, or agitators such as Nanny, members of the collective W.I.T.C.H.
Piece created on January 27th, 2015 at Subsistances in Lyon
Concept, choreography, writing: Maud Le Pladec, Okwui Okpokwasili
Interpretation: Dorothée Munyaneza
Lights: Nicolas Marc
Costumes: Alexandra Bertaut
Rehearsal: Dalila Khatir
Live musicians: Jean-Etienne Sotty and Fanny Vicens
On a music by: Kalevi Aho
“Between chaos and a balance of forces, scrupulous partition and vital overflow, DEMOCRACY proposes a dance loaded with states, ideas, rhythmicities and supports a polemic community where dancers and drummers work to undo established roles. At times isolated, festive, busy, tenfold, trained, dispersed, united, their bodies carry the ferments of a savage democracy “.
Gilles Amalvi
Piece created on November 7th, 2013 at the Théâtre de Cornouaille, Scène nationale de Quimper
Conception, choreography: Maud Le Pladec
Music: Julia Wolfe, Francesco Filidei
Musical Interpretation: Ensemble TaCTuS
Dancers: Olga Dukhovnaya or Maria Ferreira Silva, Julien Gallée Ferré or Nicolas Diguet, Corinne Garcia, Mélanie Giffard, Simon Tanguy or Steven Michel
Musical Assistant: Gaël Desbois
Lighting design: Sylvie Mélis
Costume Design: Alexandra Bertaut
Decors: Vincent Gadras
Documentation: Youness Anzane
Musical Assistant: Gaël Desbois
“With POETRY, PROFESSOR’s narrative exuberance is replaced by a careful abstraction: it is no longer a matter of physically translating EVERYTHING we hear “, but rather a way of engraving discrepancies and rhythms: letting music and movements side by side in the manner of a landscape, until they begin to form a moving territory for listening.
For the second part of this diptych, Maud Le Pladec has connected her dance to Trash TV Trance – a convulsive jewel for electric guitar. ”
Gilles Amalvi
Piece created on November 3, 2011 at the TNB in Rennes, as part of Mettre en scène
Conception, choreography: Maud Le Pladec
Music: Fausto Romitelli (Trash TV Trance), Tom Pauwels (original creation)
Interpretation: Julien Gallée Ferré, Maud Le Pladec
Musical Interpretation: Tom Pauwels
Lighting design: Sylvie Mélis
Costume Design: Alexandra Bertaut
“The PROFESSOR project is anchored in the discovery of a music: that of Fausto Romitelli, an Italian composer whose work explores crossroads between scholarly composition, rock energy and electronic acid climbs. With the idea of “physically translating EVERYTHING we hear”, Maud Le Pladec proposes a choreographic journey inside the sound edifice: incarnating the music to intensify the act of listening, and opening other territories for our Imagination. ”
Gilles Amalvi
Piece created on March 3, 2010 at the Triangle in Rennes, within the framework of the festival Mettre en scène.
Choreography: Maud Le Pladec
Music: Fausto Romitelli (Professor Bad Trip)
Interpretation: Julien Gallée-Ferré, Steven Michel, Tom Pauwels
Lighting design: Sylvie Mélis
Costume Design: Alexandra Bertaut
After training as an actor and several assistantships, Thomas Quillardet has devoted himself to directing since 2004.
As a member of the collective Jakart he created Le Frigo and Loretta Strong, a diptych based on the author Copi, with the support of the Villa Medicis scholarship outside the walls in 2007. Next came Villégiature, based on Carlo Goldoni, staged in collaboration with Jeanne Candel in 2010, Les Autonautes de la Cosmoroute based on Julio Cortazar and Carol Dunlop in 2012, and recently L’Histoire du Rock by Raphaèle Bouchard, Nus Féroces and Anthropophages, staged with Marcio Abreu and Pierre Pradinas in 2014.
In 2016 he created Montagne at the Scènes Nationales du Jura in Gap and Japan, followed by Où les coeurs s’eprennent.
In 2016, he was an associated artist with the Scène Nationale in Saint-Nazaire, and from 2017 on he will be an associated artist with the Scène Nationale of Cherbourg.
It all begins with the discovery made by Girafe, nickname given to a little girl by her recently deceased mother. From all of her nine years of age she uncover a sequence as logical as chaotic : « the man who is her father » is an unemployed artist, he doesn’t manage to « earn money », this lack of money forbid her/ doesn’t allow her to watch the cable television « which is not really a luxury because there are channels like Discovery Channel ». Based on this reflexion, Girafe leaves home accompanied by her teddy bear, Juddy Garland, looking for the magic remedy that will pay the subscription. From her encounters in the streets of Lisboa she gets to understand that the adults can’t fulfill all the deficiencies, especially those that reveal themselves to be more serious than a lack of money. In order to follow this young girl’s who is keen on definitions and filled with many questionings on her odyssey, Thomas Quillardet draws a fluctuating cartography of her world and the way she represents it. The four actors hold this tale without moral conclusion which multiplies the places and the characters that make the child grow up. Without knowing if the world is to small for her height, Girafe will ignore the obstacles to take her own path : the one of a pacified vitality, of a rediscovered confidence where sadness and joy melt together to shape life.
Adaptation of a text by Tiago Rodrigues
Everyone from 10 years-old onward
Direction: Thomas Quillardet
Assistant to the director : Claire Guièze
Actors: Marc Berman, Jean-Toussaint Bernard, Maloue Fourdriner, Christophe Garcia,
Scénography : Lisa Navarro
Lights : Sylvie Melis
Technical management : Hugo Hazard
Light management : Titouan Lechevalier
Sound management : en cours
Based on the scenarios of Eric Rohmer’s The Nights of the Full Moon and The Green Ray
“Like a Proustian phrase, Éric Rohmer’s films accompany and show the pendulum movement that governs our lives. This pendulum oscillates incessantly, between enthusiasm and disappointment. This is what Eric Rohmer shows us in his films. And that is what I would like to offer today on stage “
Creation November 8, 2016 at Le Théâtre, scène nationale de Saint-Nazaire
Directed by Thomas Quillardet
Collective adaptation from The Nights of the Full Moon
Adaptation for Le Rayon Vert: Marie Rémond and Thomas Quillardet
With: Benoit Carré, Florent Cheippe, Guillaume Laloux, Malvina Plégat, Marie-Rémond, Anne-Laure Tondu, Jean-Baptiste Tur
Light: Nadja Naira
Scenography: James Brandily assisted by Long Ha and Fanny Benguigui
Manufacturer: Pierre-Guilhem Coste
Costumes: Frédéric Gigout
General management: Camille Jamin
Lighting: Nieves Salzmann
Montagne/ yama is a franco-japanese performance. A performance about mountain. About its effects on our imagination.
Two daffy scientists harvest bits of landscape, smells, animals. They extract the mountain’s flavours. But to get them where ?
Montagne/ yama’s text is made of interwiews and anecdotes collected for two years into the french and japanese mountains. But Montagne/ yama is first and formost a manifesto about imagination.
What if to be alive we needed to take shelter into imagination at all costs ? What if everything was in our head/mind ? What if by climbing the mountain, by going higher, humanity was only sharpening its imagination ?
Mise en scène : Thomas Quillardet
Ecriture : Thomas Quillardet et Benoit Carré à partir de témoignages d’amoureux de la montagne.
Avec: Benoit Carré et Tatsuya Kawamura
Montagne/ yama est un spectacle franco-japonais. Un spectacle sur la montagne. Sur ce que la montagne provoque dans notre imaginaire.
Deux scientifiques, à la dégaine un peu loufoque, récoltent des bouts de paysages, des odeurs, des animaux. Ils ponctionnent les saveurs de la montagne. Mais pour les emmener où ?
Le texte de Montagne/yama est composé d’interviews, d’anecdotes récoltées depuis deux ans dans les montagnes japonaises et françaises. Mais Montagne/yama est avant tout un manifeste sur l’imaginaire.
Et si pour vivre il nous fallait à tout prix nous réfugier dans l’imaginaire. Et si tout était dans nos têtes ? Et si en gravissant la montagne, en allant voir plus haut, l’homme ne faisait qu’affuter son imagination ?
Brazilian choreographic artist living in France, Paul / a Pi is interested in a broader understanding of the choreographic field, working around questions about memory and temporality, language, and notions of archive and translation in dance, with a particular interest for in situ performances.
A graduate in music at the University of Campinas (Brazil), from 2013 to 2015 Paul / a followed the choreographic master ex.erce in Montpellier and has already been a performer for Clarissa Sacchelli, Eszter Salamon, Latifa Laabissi / Nadia Lauro, Pauline Simon , Aude Lachaise and Anna Anderegg, Since 2010, he develops his own choreographic projects, already presented in several cities and festivals in Brazil. He also directed 5 editions of the Free to Fall São Paulo project (exquisite artistic night) and worked as a professional musician for more than 10 years. In France, Paul / a created the solo ECCE (H)OMO (March 2017) and ALEXANDRE (May 2018), already presented at the Centre national de la danse, Festival Montpellier Danse, Musée de la Danse, Festival NEXT/Espace Pasolini, PACT Zollverein, La Raffinerie/Charleroi Danse, Vivat la Danse and Uzès Danse, among others.
« Ãnei’wá hã tá, watozei’wá watozei’wá rá ». It starts like this. More than a language whose meaning of words escapes me completely, a rhythm, a pulsation, an urgency too. What lies behind these sharp and articulate words? A man who speaks, announces, it seems important. His voice is strongly punctuated by many consonants. By words that also insist, repeated unexpectedly. This is the older man of the tribe, I knew afterwards, speaking of a ritual intended exclusively for men. In this language that was foreign to me, a single word was understandable for a Portuguese-speaking Brazilian like me: “Alexandre”.
Paul/a Pi
ALEXANDRE
a project by and with : Paula Pi
In collaboration with:
Gilles Amalvi : création sonore et accompagnement dramaturgique
Pauline Le Boulba : collaboration artistique
Rachel Garcia : costumes et collaboration artistique
Florian Leduc : création lumière et espace
Violeta Salvatierra : accompagnement en pratiques somatiques
Sorour Darabi : interprète pendant le processus de création
Production : NO DRAMA
Coproductions: Rencontres chorégraphiques internationales de Seine-Saint-Denis, CND Centre national de la danse, Festival Montpellier Danse 2018, Centre chorégraphique national de Caen en Normandie direction Alban RICHARD dans le cadre de “l’Accueil-Studio, CCNO Centre chorégraphique national d’Orléans dans le cadre de l’accueil studio 2018, La Maison CDCN – Uzès Gard Occitanie, La Place de la Danse – CDCN Toulouse-Occitanie, Le Vivat Armentières, Charleroi danse
Avec le soutien d’Arcadi
Avec le soutien de PACT Zollverein, Montévidéo – Créations contemporaines – Atelier de Fabrique Artistique, les Laboratoires d’Aubervilliers, ICI — centre chorégraphique national de Montpellier – Occitanie — Direction Christian Rizzo, et le FONDOC
Avec le soutien de Montpellier Danse 2018, résidence de création à l’Agora, cité internationale de la danse, avec le soutien de la Fondation BNP Paribas
Is it an allegory of creation or male domination?
Brazilian-born choreographer Pol Pi reminds us of all the symbolic violence contained in Ovid’s fable. Behind the artist’s attachment to his work, Galatea’s passivity – who did not even have a name in the original text – is striking. At a time when the most retrograde thoughts are being expressed in the open in Brazil, Galatea is here the starting point for a reflection on the idealization and formatting of the female body through the eyes of men.
From and with : Pol Pi
In collaboration with : Rachel Garcia
First performance on 28 October 2018 at the Péniche La POP, in Paris, as part of the “(Re)lectures” program.
Acknowledgements: Kamel Kherchouch, Laurent Barré, Jérôme Séron, Micha
Moving from one body to another, from one language to another, from one history to another. ECCE (H) OMO is a desire to reflect on the heritage in dance through an interpretation of the work Afectos Humanos by German choreographer Dore Hoyer (1911-1967). This cycle created between 1959 and 1962 is composed of five short solos. Five dances for five affects: Ehre / Eitelkeit (Pride / Vanity), Begierde (Desire), Hass (Hate), Angst (Fear), Liebe (Love).
I met these dances for the first time six years ago in São Paulo. In a 1967 video, Dore Hoyer plays the Afectos Humanos for a television show. Then start an investigation for me on this artist. I discovered that she committed suicide shortly after this recording, that she danced for Mary Wigman, that she left behind her a multiple body of work composed mainly of solos and that she still remains a marginal figure of The German dance.
A few years later, I began to learn the five solos that make up the cycle Afectos Humanos. Then, so that I could dance them in front of an audience, I worked with the choreographer Martin Nachbar, who is authorized to transmit them to me.
A long way for these gestures to become mine, to find my dance in his own.
I understood that , even though I could not do everything I wanted with these dances, nothing would stop me from being who I wanted.
To incarnate the dances of Dore Hoyer is not for me the business of a restitution, but rather that of an investigation.
Created on March 21, 2017 at the Centre national de la danse
From and with: Paul/a Pi
Outside eye and scenography: Pauline Brun
Dramaturgy and costume: Pauline Le Boulba
Lighting design: Florian Leduc
Based on original choreography by Dore Hoyer (music: Dimitri Wiatowitsch) – © Deutsches Tanzarchiv Köln
Dance Transmission: Martin Nachbar
Émilie Rousset is the director of the John Corporation company. She explores different modes of theatrical and performative writing. She uses the archive and documentary investigation to create theater pieces, installations, films. She goes and meets “specialists”. She collects vocabularies, ideas, observes movements of thought. Then she moves them around, deconstructs them, and invents listening devices where actors embody these words. A superposition is created between the real and the fictional, between the original situation and its copy.
After studying at the school of the TNS in the stage direction department, she was associated artist with the Comedy of Reims. She created Mars-Watchers at the Reims Scènes d’Europe festival. In collaboration with the visual artists Hippolyte Hentgen and the actress Perle Palombe, she presented to the Centre Pompidou the performance Classons les peignes par le nombre de leurs dents, and the play, Portrait 9 – Claude Ridder. She created Les spécialistes, a performative device originally conceived at the Grand Palais for the Monumenta. This piece, which is rewritten each time according to the context of where it takes place, has been performed in many theaters, museums, and festivals. She also worked on a series of short films co-directed with Louise Hémon, titled Ritual 1: Anniversary, Ritual 2: Voting, Ritual 3: Baptism of the sea. Her next play Rencontre avec Pierre Pica stages her exchanges with a linguist.
Pierre Pica is a linguist, former student of Noam Chomsky, he has just retired from the CNRS and is about to leave to teach in the United States. On the shelves, masks and tribal statuettes mingle with piles of books. For fifteen years he has been working on the Mundurukus, an indigenous group living in the Amazon rainforest. Pierre Pica studies their language and more specifically their relationship to numbers. Emilie Rousset went to meet him in his Parisian apartment.
Conception, mise en scène Emilie Rousset
Avec Emmanuelle Lafon & Manuel Vallade
Musique Christian Zanési
Collaboration artistique Elise Simonet
Lumiere Florian Leduc
Son Romain Vuillet
Scénographie Florian Leduc & Emilie Rousset
Régie générale Jérémie Sanames
Production : John Corporation
Avec le soutien de la Fondation d’entreprise Hermès dans le cadre de son programme New Settings
Coproduction : Le Phénix, scène nationale (Valenciennes) ; Festival d’Automne à Paris
Avec le soutien de la DRAC Île-de-France
Avec le soutien de la Ménagerie de Verre, dans le cadre du Studiolab
Spectacle créé le 10 octobre 2018 au Théâtre de la Cité internationale (Paris) avec le Festival d’Automne à Paris
The stage director Emilie Rousset and the film director Louise Hémon are building since 2015 the « Rituals » serie, an evolving collection of performances and movies which is scrutinize the rites of our society by playing with the codes of theater and documentary cinema. « The Great Debate » is their fourth collaboration. It reproduce a run off televised debate of the french presidential elections written from a cut up of archives of the debates from 1974 to 2017. The device of he film set and the live program codes are staged anew. Two actors, Emmanuelle Lafon and Laurent Poitrenaux, facing each other at a table, performa gain those fragments under the eye of the audience and the cameras. The movie is edited live and projected above the actors while they are playing. This final debate, combining rhetoric and adrenaline has its own movie language, its principles of edition, its setting and mediatised story. This event is an absolute modern ritual with those highly codified rules. But is it a ritual of democracy or a ritual of television ? The boundaries between the two are blurry.
Conception, mise en scène
Émilie Rousset & Louise Hémon
Avec Emmanuelle Lafon & Laurent Poitrenaux
Image Marine Atlan
Montage Carole Borne
Régie vidéo et son Romain Vuillet
Régie générale Jérémie Sanames
Production John Corporation
Avec le soutien de la Fondation d’entreprise Hermès dans le cadre de son programme New Settings
Avec le soutien du DICRéAM
Coproduction Festival d’Automne à Paris // Coréalisation Théâtre de la Cité internationale (Paris) ; Festival d’Automne à Paris // Spectacle créé le 10 décembre 2018 au Théâtre de la Cité internationale (Paris) avec le Festival d’Automne à Paris
RITUEL 3 : Le baptême de mer explores the marine world and the rituals and superstitions of navigation.
Performance and film (25 minutes)
Direction: Émilie Rousset & Louise Hémon
With Julia Perazzini & Olivier Normand
Production : Amélie Couillaud
Image : Marine Atlan
Sound : Philippe Deschamps
Paintings : Camila Farina
Decor : Ninon de la Hosseraye
Make-up : Jessica Loulergue
Editing : Carole Borne
Graphics : Morgane Rospars
RITUEL 2 : LE VOTE digs deep into the regulations that regulates the act of the electoral Sunday.
With Manuel Vallade
Performance and 20 minute film.
Direction : Émilie Rousset & Louise Hémon
with Manuel Vallade
Image : Jean-Baptiste Bonnet
Sound : Marc Parazon
Decor : Ninon de la Hosseraye
Doublure : Antoine Hémon
Make-up : Émilie Nguyen Thanh Nhan
Editing : Carole Borne
Sound editing : Ivan Gariel
Credits : Elsa Audouin
Design accessories : Sylvia Ugga
Étalonnage : Eric Salleron
RITUEL 1 : L’ANNIVERSAIRE brings up the rite of passage that is each birthday, in th elight of its contemporary merchandising.
15 minute long film
Direction : Émilie Rousset & Louise Hémon
with Perle Palombe
costumes and decor : Karine Marques Ferreira
editing : Carole Borne
image : Christian Bahier
sound : Denis Guilhem
sound editinge : Ivan Gariel
étalonnage : David Bouhsira
credits : Elsa Audouin
Les Spécialistes is a performative device designed for interior or exterior places. Through a microphone, five actors give back the speech of different specialists. The spectators can listen live under helmets. These words from interviews with philosopher, sailor, archaeologist, forger change each time according to the context of reception of the play.
Conception, direction Emilie Rousset
Dramaturgy, editing interviews: Maya Boquet
Sound Designer: Romain Vuillet
With: (since 2014) Véronique Alain Hélène Bressiant Frédéric Danos Duncan Evennou Pierre Jouan Emmanuelle Lafon Pierre Laneyrie Olivier Normand Perle Palombe Julia Perazzini Thierry Raynaud Loic Renard Anne Steffens Grégoire Tachnakian Manuel Vallade , Eva Zinc
Since 2011, Pierre Godard and Liz Santoro have been collaborating closely on the creation of choreographic machines that attempt to thwart the tropisms of our attention. The singularity of their respective artistic pathways have brought them to elaborate systems of writing centered on movement and text that, in revealing underlying processes — mechanisms of power and seduction, organization of social space, operating procedures of the nervous system — propose to the spectator the experience of perceptive incongruity.
Their work has been presented in France, Europe, and North America. They created five group pieces, We Do Our Best (2012), Relative Collider (2014), For Claude Shannon (2016), Maps (2017) and Noisy Channels (2018) and three pieces in situ, Watch It (2012), Quarte (2014) and Leaning (2018). Their work has been nominated several times at the Bessie Awards, and Watch It received a Bessie in 2013 in the category “Outstanding Production for a work at the forefront of contemporary dance”.
When they were working on Maps in 2017 the two choreographers faced a strange and amusing discord, a problem of steps and times. Half of the dancers were counting the rhythm like classical musicians (they counted « one » on the beat ), while the other half was counting on the up-beat like jazz musicians. That difference, which the performers could not overstep because it affected all the aspects of their capacity to conceive and then realize their movements, is the starting point of Noisy Channels.
That incongruous situation brings them to approach the matter of paradox through a textual angle, by the mean of the recorded voice of the dancers. Whether it is about logic or probability, about economy or game theory, physics or philosophy, there are a lot of them but the logic of paradox is to go against common sense, to expose the complexity of reality, to make us realize the limits of what we are able to conceive, to pave the way to the possibility of a new exploration.
With this new choreographic device, Liz Santoro and Pierre Godard tend to probe the depth of paradox and to deepen their researches about the link between text and movement by leaning on the musicality of the voice.
Conception Liz Santoro et Pierre Godard
Musique Greg Beller
With Matthieu Barbin, Jacquelyn Elder et Cynthia Koppe
Coproduction La Pop, CDCN Atelier de Paris.
Liz Santoro et Pierre Godard sont artistes associés au CDCN Atelier de Paris
The idea that language would be physically organized in the biological space of the brain encourages us to push deeper in our work with points of contact between movement and text, but also with sound and architectural spaces, through this shared property: deployment. If it is possible to write the movement of the body in space on stage, we could by analogy, mentally project the text on one of these maps showing the unfolded surface of the cortex and vice versa, then use this correspondence as composition material which can then be activated in real-time during the performance.
Design: Liz Santoro and Pierre Godard
Music: Greg Beller
Costumes: Reid Bartelme
Light: Ongoing
With Matthieu Barbin, Lucas Bassereau, Jacquelyn Elder, Maya Masse, Cynthia Koppe et Charlotte Siepiora
For Claude Shannon uses grammatical dependencies between words in a statement from computer science pioneer Claude Shannon to recover a linguistic structure that, in turn, generates inexhaustible possibilities for choreographic sequences. Twenty-four discreet movement “atoms” for arms and legs serve as a movement lexicon from which a fixed number of inputs is randomly chosen each time the piece is performed. For each performance, dancers must assemble and learn one particular choreographic outcome among 29 billions possible that cannot be repeated. They rely on the perfect assimilation of the structure of the text and the intimacy they have acquired with one another. Engaging the resources of both their working and long-term memory, uncovering to the audience the pronouncement of the unknown, concealing the predicaments of entropy, they relentlessly switch circuits.
For Claude Shannon was created on January 22, 2016, at the CDC Atelier de Paris
Design: Liz Santoro and Pierre Godard
Music: Greg Beller
Costumes: Reid Bartelme
Light: Sarah Marcotte
With Marco D’Agostin, Cynthia Koppe, Liz Santoro and Teresa Silva
Quarte Works on the tension that exists between the intrinsic attributes of an object, in this case a landscape, and the symbolic arrangement built around it. We conventionally install bodies in this device to reveal the sediments of natural and artificial.
Piece created on the 29th and 30th of August 2014 at 7:30 pm as part of the festival between courtyard and gardens
Choreography: Liz Santoro with Tove Brunberg and Sherwood Chen
Artistic collaboration: Pierre Godard
Relative Collider is a machine that others us the opportunity to see, to measure, to quantify, to exchange, to experience information between nervous systems. Like the rings of particle accelerators, its structure holds value only insofar as it allows for the creation of an experience and production of specific results.
Relative Collider works on the physics of attention; a collision of watching.
Relative Collider seeks a point of contact between movement and text, where they each have the sole purpose of their own performance in front of an audience. Atoms subjected to di erent force elds, recombined into molecules that precipitate or dissolve under the attention of the viewer. Organic chemistry.
Relative Collider was created on 11 March 2014 at the Théâtre de Vanves as part of the Artdanthé Festival
Design: Liz Santoro and Pierre Godard
Sound: Brendan Dougherty
Costumes: Reid Bartelme
With Pierre Godard, Cynthia Koppe, Liz Santoro, and Stephen Thompson
Watch It is a machine to alter our perceptual hierarchies. Here, the spectacular emerges randomly on the plot of a noisy public space while motifs – very written but maintained at the threshold of their silence – unfold unnoticed. Intimate outdoor performance, fortuitous mathematics, Watch It offers its system of filters and mirrors to destabilize the tropisms of our attention. Choreography for the retina and vestibule. Conservation of energy. Increased disorder.
A piece created and presented at the Museum of Arts and Design from 15 to 17 November 2012, then at the Centre Pompidou Metz on 12 and 13 April 2014
Watch It, in the version presented at the Museum of Arts and Design in New York, received a Bessie Award in 2013.
Choreography / Conception: Liz Santoro and Pierre Godard
Musician: on the spot
Dancer: Reid Bartelme
Performers: on-site (6)
Vincent Thomasset, author, director and choreographer, works around language, whether it is choreographic, literary or musical. He maintains an intimate relationship to fiction and tries to circumscribe the conditions in which this relationship appears. His pieces are as much explorations of the languages and codes of the theater, whether through his own texts (Sus à la Bibliothèque !, Les Protragronistes, Médail Décor, Galoooooop, Ensemble Ensemble) or by working on pre-existing texts (Arsenic and Old Lace by Frank Capra for Bodies in the Cellar, Julien Prévieux’s Lettres de non-motivation). His abundant writing exhausts the words by declining all possible meanings, restoring language to a literality that it could have lost, and finds in the bodies of its interpreters an ideal alter-ego.
After studying literature in Grenoble, he discovered theater by accident, worked in a cinema for six years before becoming a performer for Pascal Rambert from 2003 to 2007. In 2007 he follows the formation E.xe.r.ce at the CCN of Montpellier and began to develop his own work. He first created performances before creating his first show in 2011.
The company Laars & Co, created in 2012, is subsidized by the Ministry of Culture and Communication, supported by the DRAC Île-de-France in the frame of “aide à la compagnie chorégraphique”.
Carrousel is a project that attempts to uncover the complex relationships that can develop between individuals by observing how the functions and roles assigned to us – or the ones that we choose to assume – can conflict with the construction of our respective identities. We will work more specifically around the notion of free will, the necessary conditions for its exercise, in order to observe how it is possible to build oneself as a subject.
For most people, the term carousel refers to the rides of our childhood, the relationship to time, innocence and play. But there is another, more unknown meaning, which consists in the creation of a military parade exercise, practiced by riders and their horses. Within a riding arena, divided into squares, they perform various evolutions, such as geometric shapes (volts, half volts, etc.), dressage exercises, changes of pace. Today practiced by the Cadre Noir of Saumur, within the Ministry of Defence, it combines precision and military rigour. The carousel also refers to the figure of the merry-go-round, which, in classical dance, consists of following a circular path around the stage by practicing pricked tricks, sequences of large jumps and no connections (slipping, large throws). We will observe where equestrian art and classical dance can be placed in parallel, both of which are part of a so-called learned tradition, in a learning process, a rigour, a relationship of bodies between them in a given space, how these two disciplines confer on the notion of free will the status of a safeguard within a system where constraint becomes the norm.
The Carrousel is the spatial metaphor for all the questions surrounding the construction of the subject, i. e. the individual and his relationship to the other. Getting rid of the codes, following one’s own path, living an initiatory journey in the image of legendary and fictional heroes or simply obtaining a title at the end of a professional or academic path: the subject draws a more or less sinuous line by realizing oneself. These challenges are reflected, by analogy, in this very special “Carrousel”: like children playing adult games, the five performers will always try to keep their ability to play with the most profound constraints and desires intact.
Concept, text : Vincent Thomasset
Cast : Julien Gallée-Ferré, Emmanuelle Lafon, Anne Steffens and two other performers (ongoing)
Light : Florian Leduc
Sound design ongoing
Artistic advisor : Ilanit Illouz
Visual arts advisor : Stéphanie Airaud
Language advisor : Viviane Point
Collaborative scenography : Florian Leduc et Ilanit Illouz
Costumes in collaboration with Angèle Micaux
Stage and technical management : Vincent Loubière
Production Laars & Co
Coproduction (ongoing) : La Passerelle scène nationale de Saint-Brieuc, Festival d’Automne à Paris, Pôle Culturel d’Alfortville, Manège Scène Nationale – Reims, Le Parvis Scène Nationale Tarbes-Pyrénées, Département du Val-de-Marne as part of the support for creation.
Vincent Thomasset is an artist-in-residence at the POC in Alfortville for 2018-2019.
The association Laars & Co is supported by the Ministry of Culture and Communication
DRAC Île-de-France with the support of the choreographic company.
“In line with his previous creations, Vincent Thomasset poses the question of the double, within the filter of language. Life paths, real or fictitious biographical materials form the outline of this incarnated, spatialized piece, in which the subjectivity of the performers is mingled with the fragments to which they lend their voices. Crossing vocal and carnal landscapes, Ensemble Ensemble involves the circulation of the verb as a mental architecture of multiple dimensions. ”
Gilles Almavi, program of the Musée de la danse
Choreography, direction, writing: Vincent Thomasset
Artistic advisor: Ilanit Illouz
Cast: Aïna Alegre, Lorenzo De Angelis, Julien Gallee-Ferré, Anne Steffens
Scenography: in collaboration with Vincent Gadras
Light: Pascal Laajili
Sound design: Pierre Boscheron
Costumes: Vincent Thomasset in collaboration with Angèle Micaux
Assistant director: Flore Simon
After his adaptation of Lettres de Non Motibation pour the stage of theater (captive audience, frontal position to the stage). Vincent Thomasset keep on working on the project of Julien Prévieux by experimenting other ways to face the audience by proposing a device that allow her to meet the actors, to be at the very heart of it.
It is a quadri-frontal device in wich the audience surrounds the acting space. It can also be set as a circle. Four access are fitted out to allow the circulation of the performers. A microphone and a reception bell are placed at the center of the device. The adverts and the matching answers to the letters that are interpreted are in a booklet which is distributed to the audience. The spectators are required to turn the page each time the actors ring the bell.
Conception, mise en scène : Vincent Thomasset
Text : Julien Prévieux
With : David Arribe, Michèle Gurtner, François Lewyllie, Anne Steffens
Assistant : Flore Simon
Production : Laars & Co
Coproduction version itinérante : La Passerelle, scène nationale de Saint-Brieuc, Ménagerie de Verre (Paris)
The device is simple, two standing static microphones. The two performers are bot side of the space, so that they can see each other. Two versions of the text are possible. The first one lasts 12 minutes, the text can be read 4 times in an hour, the public can come and go. The second version lasts 20 minutes.
Premiere April 2nd 2016 at MacVal, then June 16th 2016 at Subsistances de Lyon
Text : Vincent Thomasset
Cast : Anne Steffens, Vincent Thomasset
“Performance in three episodes (Sus A La Bibliothèque !, The Protragronists And Médail Decor), La Suite marks the arrival of Vincent Thomasset in the theater. Conceived as autonomous objects from each other, these pieces are nevertheless connected by a deeper current, that of a surprising and elusive creation process, each new episode seeming to be the survivor of the previous one. With this opus, Vincent Thomasset lays the foundations of his theatrical language, where text, light, sound and body are so many independent forces that take a cunning pleasure in contradicting and surprising oneself. ”
Marion Siéfert, for the Autumn Festival in Paris
La Suite
Conception, text: Vincent Thomasset
Created on 7 March 2015 at the Artdanthé Festival / Théâtre de Vanves
Sus à la bibliothèque!
Created on March 24, 2011 at the Artdanthé Festival, Théâtre de Vanves
Interpretation: David Arribe, Lorenzo De Angelis, Grégory Guilbert, Vincent Thomasset, Marc-Antoine Vaugeois
Duration: 25 minutes.
The Protragronists
Created on March 6, 2012 at the Artdanthé Festival, Théâtre de Vanves – a convention for dance.
Interpretation: Lorenzo De Angelis, Vincent Thomasset
Duration: 30 minutes.
Médail décor
Created at the Far ° festival of the living arts – Nyon, Switzerland on August 13th 2014.
Interpretation: Lorenzo De Angelis, Vincent Thomasset
Sound design: Pierre Boscheron
Music: Pierre Boscheron, Vincent Thomasset
Light: Annie Leuridan, adapted from the creations of Abigail Fowler
Scenography in collaboration with Ilanit Illouz
Duration 55 minutes.
This piece is based on a challenge: to seize the project of a plastic artist and to transfer it to the stage. Beyond the encounter of two artistic universes, it is a matter of confronting an a priori inadaptable text, giving body, literally, to a material that resists.
At the beginning of the Lettres de non-motivation, a simple protocol: Julien Prévieux, visual artist, responds to job offers by the negative. By playing with what surrounds him, he brings to light the relations of force, the mechanisms at work between the one who seeks work and those who offer it. Each individual has been confronted at some point with the process of seeking employment. The cathartic power of these letters operates immediately: the reader can both project himself into the different characters and postures they contain, but also identify to the artist writing these non-motivational letters.
If the Lettres de non-motivation have not been written for the stage, they carry in them the essence of what makes theater. This is due both to the nature of the process put in place – to frustrate the power relations inherent in the world of work by endorsing different roles – to the diversity of scriptures, the multiplicity of languages, the abundance of characters, the infinite possibilities in terms of staging and interpretation.
This piece was created on September 8, 2015 at la Bâtie, as part of the Geneva festival.
Concept and staging: Vincent Thomasset
Text: Julien Prévieux
Interpretation: David Arribe, Johann Cuny, Michèle Gurtner, François Lewyllie, Anne Steffens
Assistant director: Brune Bleicher
Scenography in collaboration with Ilanit Illouz
Light: Annie Leuridan
Sound design: Pierre Boscheron
Music: Pierre Boscheron, Vincent Thomasset
Costumes in collaboration with Rachel Garcia
Stage and technical management: Vincent Loubière
The play evolve around the notion of double and all the different meanings of it : doubling, dubbing, splitting. Those themes cross the play as well by the figures embodied by Lorenzo as by the content of the texts.
The writing proposes a return toward the troubled spaces of childhood, and youth, when everything around us becomes more and more tangible and less and less fictionnal. The choc induced by this realisation generates arcs of tension and plunges the individual into complex states. Then, each person tries to build itself as well as it can, oscilating between methaphysical questionnings and singular behaviours.
Those themes appeared during the writing process which incorporate recurring parterns and methods :
– The use of different times in the same sequence
– The use of past historic. Because it is not used in the spoken language and more and more rarely in the written language it sends us back to the writting process while plunging us back into our early years when we were learning our conjugaison tables.
– The use of « we » which conveys all at once the idea of a group, the affiliation to a community, but also the evocation of a confused personnality with a structure going through laborious path.
Texte, mise en scène : Vincent Thomasset
Chorégraphie : en collaboration avec Lorenzo De Angelis
Interprétation : Lorenzo De Angelis, Vincent Thomasset
Son : Pierre Boscheron
Lumière : Annie Leuridan
Scénographie : d’après une idée originale d’Ilanit Illouz
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Production : Laars & Co Production déléguée : Latitudes Prod.
Coproduction Théâtre de Vanves – Scène conventionnée pour la danse, Atelier de Paris-Carolyn Carlson / CDC.
Avec le soutien d’Arcadi Île-de-France, de la DRAC Ile-de-France / Ministère de la Culture et de la Communication.
Avec le soutien à la création du Festival actoral, du CENTQUATRE-PARIS, du Centre Chorégraphique National
Roubaix Nord-Pas de Calais, du far° festival des arts vivants Nyon, du Centre National de la Danse – Pantin, du
Grand Studio dans le cadre des échanges avec Latitudes Contemporaines, du Théâtre Garonne – scène européenne.
Ce spectacle bénéficie du soutien de la Charte de diffusion signée par l’Onda, Arcadi Île-de-France, l’Oara
Aquitaine, l’Odia Normandie, Réseau en scène – Languedoc-Roussillon et Spectacle Vivant en Bretagne.
Remerciements à José Alfarroba, David Arribe, Ilanit Illouz, Anne Lemoine, Yann Lheureux, Manuel Séveri,
à l’Ircam-Centre Pompidou et Robin Meier, réalisateur en informatique musicale, pour leur contribution
au développement des outils informatiques
A play for five performers, fifteen characters and three voices, which revolves around the extraordinary physical performance of the actor Cary Grant in Arsenic and Old Lace by Frank Capra. A complex physical, vocal and sound partition underlies this work. The dissociation of voices and bodies – live dubbing of male voices – gives a meticulous and demanding work, requiring unfailing commitment from the performers. By deconstructing a monument of the 1940s entertainment, Bodies in the cellar plays with the codes of narration, representation, and offers the spectator the possibility of constructing his own film, while being carried away by an uninterrupted flow of movements, sounds and gestures, stories and intertwined stories.
Premiere on March 12th, 2013 at the Ménagerie de Verre – Paris, within the framework of the festival Etrange Cargo
Conception, text: Vincent Thomasset
Performers: Jonathan Capdevielle, Lorenzo De Angelis, Michèle Gurtner, Grégory Guilbert, Vincent Thomasset.
Artistic collaboration: Ilanit Illouz
Sound: Gérard D’élia
Light: Erik Houllier
Scenography in collaboration with Camille Muret-Lilti
Council costumes: Olivier Mulin, Angèle Micaux.
A.V.E.C. was created at the initiative of the Théâtre de Vanves, and co-built with Arcadi, and the Cassiopée office, from 2008 to 2016, and since October 2016 with BureauProduire, to accompany young artists in the course of their projects.
This “dispositive” has the particularity of associating several actors of the artistic sector: a theater, a regional agency, a production office and artists.
The goal of the program is to enable artists to better understand the frameworks and the outlines of their activities, to improve their methods of implementing their projects and to develop a better knowledge of the field and its protagonists.
The concept of movement will be carried throughout the 2017 promotion: Taking into account an initial situation, in this case four artistic projects, which have as a identifiable common point one (or several) performance date (s) at the Théâtre de Vanves, taking into account their singularity, just like a photo at an instant T and accompanying any movement, in order to create the possibility and the conditions of a displacement.