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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

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.

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.

“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

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.

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.

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.

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 “.

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.

“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

“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

“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

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.

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 “

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 ?

How can words (pronounced aloud or not) trigger a flow of movements, gestures, speeds, directions, and intensities? And how, in return, a body in a surge of movements can bring forward words, phrases, phonemes, sounds? Would it be possible to envisage a fluid passage between these two languages?
In 2012, I came across the recording of the voice of an Indian of the Brazilian tribe of Xavantes. The musicality of his words and the enigma that surrounded them strongly marked me. It only lasted a little more than three minutes, and I knew afterwards that it was the chief of the tribe, the cacique, who spoke of a ritual intended exclusively for men. In this language that was foreign to me, a single word was understandable for a Brazilian Portuguese like me: “Alexander”.
This archive will be the starting point for this creation, for which I am interested in an approach to language as rhythm. With this foreign language, one also seeks to think of the notion of frontier as a space of translation, the border as a river, a passage, a back and forth between two shores, two lips, two languages.
It will not be a question of reproducing the recording by unveiling the source, but of reflecting on the sound material as a kinesthetic basis for a future dance. The desire here is to break through the archive by free associations, in the invention of a language in response to a language that I do not understand but that affects me, that speaks to me.

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.

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.
 

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.

RITUEL 3 : Le baptême de mer explores the marine world and the rituals and superstitions of navigation.
Performance and film (25 minutes)

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.

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

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.

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.

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.

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.

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.

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.

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.

“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

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.

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.

“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

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.

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.

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.