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Orchestrated by Eric Oberdorff/Cie Humaine
organized in partnership with Direction de la Culture de la Ville de Cannes
10h30 – 12h30 Master classes
with Vilnius City Dance Theatre Low Air and with Cie Silke Z
14:45 Presentation of shows
15:00 – 15:20 : “You are safe ”
5 dancers and 1 musician
Choreographer : Silke Z.
Silke Z. / RESISTDANCE (Allemagne) is a founding member of Studiotrade.
15:30 – 15:50 “A solo for society ”
Choreographer : António Cabrita & São Castro
Interpretation : Guilherme Leal
CPR Viseu | Companhia Paulo Ribeiro (Portugal) est membre associé de Studiotrade.
Break with projection of dance movies (rehearsal room) :
Icelandic Film (2013 / 16 minutes)
Choreographer : Sigríður Soffía Níelsdóttir
Producers : Marino Thorlacius & Sigríður Soffía Níelsdóttir
Presented by : Reykjavík Dance Atelier (Islande), associate member of Studiotrade.
Franco-canadian Film (2018 / 13minutes)
Choreographer : Sandy Silva
Producer : Marlene Millar avec la complicité de Sandy Silva
Presented by : Stéla – DAN.CIN.LAB, founding member of Studiotrade
16:20 – 16:40 “The Body”
Company : Liisa Pentti +Co (Finland)
Choreography and concept : Liisa Pentti
Performers : Bo Madvig (DK), Liisa Pentti
Liisa Pentti +Co (Finland) is an associate member de Studiotrade.
16:50 – 17:10 “Game Over”
2 dancers et 1 musician
Company : Vilnius city dance Theatre Low Air (Lithuania)
Choreographer et performers : Laurynas Žakevičius and Airida Gudaitė
Compositor and musician : Adas Gecevičius
Vilnius city dance theatre Low Air is presented by Arts Printing House (Lithuania), founding member of Studiotrade.
17h10 – 17h30 Audience discussion
From all four corners of Europe, the choreographers, each in the unique nature of their language and approach, pose questions that reflect universal preoccupations, timeless and yet so modern.
The Festival will host the 3rd part of the project begun and accompanied by Eric Oberdorff, artistic director of the Cie Humaine, which allows for showcasing the work of 4 companies that are members of the European Studiotrade network.
What impact do our fears have on our bodies, our relations with each other, our souls? Are we safe? How can we preserve our existence as individuals and not allow ourselves to be submerged into the anonymity of the crowd by the social rules, norms and moral codes imposed? What is beauty? What is the significant, fragile, impossible part emanating from the body I’m looking at? What happens when dream and reality collide? What part does magic play? Or fiction?
By their performances, in the form of showcases, short film screenings, meetings and discussions by way of masterclasses, the artists form the echo of a promise and deliver part of their vision of our era. A turbulent day that illustrates the dynamics of the independent European choreographical scene.
Bejart Ballet Lausanne
Tous les hommes presque toujours s’imaginent
Creation 2019 – First in region
Choreography : Gil Roman
Music : John Zorn
Video collaboration : Marc Hollogne
First representation in Opéra de Lausanne on 5th of april 2019.
Béjart fête Maurice
First in region
Choreography : Maurice Béjart
Stage : Gil Roman
Musique : Ludwig van Beethoven, Anton Webern, Richard Heuberger, Johann Strauss, Gioachino Rossini, Hugues Le Bars, musiques traditionnelles juives, indiennes, africaines et pygmées
Costumes design : Henri Davila
Lighting design : Dominique Roman
First representation in Théâtre de Beaulieu, Lausanne on 16th of december 2016
Gil Roman, the artistic director of the Béjart Ballet Lausanne, is presenting his latest creation, Tous les hommes presque toujours s’imaginent, as well as a journey through the repertoire of the company’s founder: Béjart fête Maurice.
This exceptional event will be performed in Cannes during the Dance Festival.
The programme reunites a completely new creation by Gil Roman, Tous les hommes Presque toujours s’imaginent and then a suite of extracts from Maurice Béjart that, rather than a homage, is a form of dialogue between the company and its late creator.
Tous les hommes presque toujours s’imaginent, a title borrowed from the Swiss author Ludwig Hohl, is fully choreographed to the music of John Zorn, one of the major composers of American contemporary music and an inspired multi-instrumentalist. The work, resolutely set in our era, uses a succession of delicate and poetic tableaux to evoke modern expressions of human relationships.
Béjart fête Maurice, brings together the best moments from some ten or so ballets, which, all together, remind us of the diversity of Maurice Béjart’s sources of inspiration, from the Orient to Africa, from the traditional Jewish dances of the Dybbuk to the tribal dances of Elagabalus or the Indian mystique of Bhakti III, not forgetting the great moments that are the end of the 19th Symphony or 1789… and us.
A message from Brigitte Lefevre
To me, Maurice Béjart was a master and a friend. Gil Roman has succeeded in perpetuating the spirit and work of Maurice Béjart, in an institution like the Béjart Ballet Lausanne and we can only salute his persistence and energy in conserving and developing the base the represents the Bejartian repertoire, but also in training a company of forty dancers, thanks to his work in research and creation.
Bejart Ballet Lausanne
Since its creation in 1987, the Béjart Ballet Lausanne has become a reference in the world of choreography. Appointed as his successor by Maurice Béjart, Gil Roman has directed the company and preserved its artistic excellence since the master’s death in 2007.
Trained by Marika Besobrasova, as well as by Rosella Hightower and José Ferran in Cannes, Gil Roman joined Maurice Béjart’s 20th century Ballet in 1979. For nearly thirty years he performed the choreographer’s most famous ballets. In 2007, Maurice Béjart appointed him as his successor at the head of the Béjart Ballet Lausanne.
© BBL – Lauren_Pasche
© BBL – Gregory_Batardon
© BBL – Ilia_Chkolnik
29 november 2019
30 november 2019
Friday 29 november
20h30 • Duration : 2h15
Saturday 30 november
14h00 • Duration : 2h15
Palais des Festivals
from 15€ to 62€
from 6 years old
AROUND THE FESTIVAL
Béjart, l’âme de la danse
CHRISTIAN RIZZO, MARIE-AGNèS GILLOT, ANDRéS MARIN
Magma (provisional title)
Commission and Coproduction Festival de Danse Cannes Côte d’Azur
Creation 2019 – World first – 2 dancers et 2 musicians
Choreography : Marie-Agnès Gillot et Andrés Marín
With Marie-Agnès Gillot et Andrés Marín, Didier Ambact et Bruno Chevillon
Artistic direction, concept and costumes : Christian Rizzo
Music : Didier Ambact, Bruno Chevillon, Vanessa Court
Lights : Caty Olive
A creation that brings together three giants of dance and creates a sensitive and passionate space, where the art of dance expresses its fragile and persistent rites.
Marie-Agnès Gillot, Andrés Marín and Christian Rizzo united for the same creation? This is the crazily exciting project launched by Brigitte Lefèvre.
Reunited by the same desire for perfection and by this dark part they harbour in themselves like an inside out caress, together they seek the invisible nature of dance and the spirits that accompany it. A sort of archaic definition of Duende, this phantom is the implicit territory of their art “where the poetic converses with the tension and elasticity of emptiness that unites the body” Christian Rizzo explains.
“I love the link with the flamenco rhythm, that is unknown to us in classical dance. A sort of personal base drum” confirms Marie-Agnès. This couldn’t fail to seduce Andrés, an exceptional dancer, overflowing with surprising ideas, the reformer of a flamenco that can say and do anything, from the most abrupt heel tap to the most exuberant rock opera. Using a flamboyant dance, whether wearing football boots, trainers, ballet pumps or real flamenco shoes, here are three artists ready to surrender to the art of encounter.
A message from Brigitte Lefevre
In my opinion, between Marie-Agnès Gillot, Andrés Marin and Christian Rizzo, fire is brewing between these incandescent artists!
The idea of uniting Andrés’ flamenco in this way, in all its radical and inventive nature, and the classic dance of Marie-Agnès, whose impetuous personality never stops seeking and discovering, makes me think of a liaison. The diversity of Christian Rizzo’s talents is a must, thus allowing an exceptional trio to come together.
Joining the Paris Opera Corps de Ballet at the age of 15, Marie-Agnès Gillot was made an étoile by Brigitte Lefèvre in 2004. Chosen by the greatest choreographers of our time, from Béjart to Pina Bausch, she launched herself into choreography by creating Rares differences for Suresnes Cités Danse in 2007 and Sous Apparence for the Paris Opera in 2012. She said goodbye to the Opera in 2018.
Andrés Marín is the son of dancer Andrés Marín and singer Isabel Vargas. He founded his own company in 2002. He is considered as one of the great flamenco reformers. In all his works, there is an element of risk and experimentation, which he considers essential so that flamenco remains a living art. In addition to his activity leading his company, he has worked with Blanca Li, Jirí Kylián, Bill T. Jones and Kader Attou.
Born in Cannes, Christian Rizzo began by forming a rock band, creating a clothing brand and training in the plastic arts at the Villa d’Arson in Nice, before changing direction to dance. He has danced for many choreographers, also sometimes creating soundtracks or costumes. In 1996, he founded the fragile association and created numerous pieces, alternating between projects for opera, fashion and the plastic arts. On 1 January 2015, Christian Rizzo took over the direction of the National Choreographic Centre in Montpellier.
Production Théâtre de Suresnes Jean Vilar
Coproduction Théâtre National de Chaillot / Festival de Danse – Cannes Côte d’Azur
Avec le soutien de ICI-CCN Montpellier / Occitanie et de la Junta de Andalucia
Commande Festival de Danse – Cannes Côte d’Azur
James Sewell Ballet
Based on Frederick Wiseman’s groundbreaking 1967 documentary ‘Titicut Follies’.
Creation 2017 – 12 dancers
Choreography : James Sewell
Musicians : TBD
Music : Lenny Pickett
Lighting : Garvin Jellison
Concept and costumes : Steven Rydberg
The James Sewell Ballet combines the elegance of classical and the rigour of contemporary dance with the freedom of modern American dance. Titicut Follies, an unclassifiable piece, will be presented as a European premiere at the Festival.
Titicut Follies is firstly the title of a documentary made in 1967 by Frederick Wiseman at Bridgewater Hospital, an asylum for the criminally insane. Banned until 1991 in the United States, this hardcore film is considered as marking a turning point in the way we considered the penal world reserved for mental patients. Titicut Follies is the name of the show that patients and guards give once a year. James Sewell, choreographer and director of the eponymous ballet, is fully convinced that the classical technique can and should talk about problems in society. As a result, the collaboration was born between Frederick Wiseman and the choreographer in order to create a ballet from the film. James Sewell invented a new choreographical vocabulary from the closely watched movements on the “Titicut Follies” stage. Leading dance into new territory, Titicut Follies is a gripping and strange ballet with, sometimes, a pinch of humour, but above all a surprising sense of derision.
Disjointed rounds, in a parody of the Kingdom of the Shades from La Bayadère, from an arabesque line on legs that give way, the routine, created over approximately two years of collaboration with Frederick Wiseman, is a true performance on the theme of madness, a fertile subject in terms of ballet!
A message from Brigitte Lefevre
Titicut Follies is a true curio. I find it interesting that a choreographer like James Sewell took on a documentary by Frederick Wiseman, an ingenious documentary maker with the major institutions. The piece is a real choreographical UFO; it has a few hints of Berlin-style cabaret sullied by neoclassicism and introduces us to the world of madness, like Giselle, whether in its classic version or the modern one from Mats Ek. But maybe the artists have dipped a toe into madness?
The artistic director of the Sewell Ballet, James Sewell, studied at the School of American Ballet with David Howard, before being hired by ABT II. He was then the Principal dancer at the Feld Ballet/New York. Then, with his muse, Sally Rousse, he founded his own company in 1990, which today includes over one hundred ballets in its assets.
SÃO PAULO DANCE COMPANY
Creation 2019 – French Premiere – 12 dancers
Choreography : Cassi Abranches
Music : Sebastian Piraces
Lighting : Gabriel Pederneiras
Costumes : Janaina de Castro
Creation 2012 – 8 dancers
Choreography : Jomar Mesquita with collaboration of Rodrigo de Castro
Musics : Te amaré e Después (Silvio Rodrigues), No se Nada (Rodrigo Leão), Tema Final (Cris Scabello) and As rosas não falam (Cartola)
Lighting : Joyce Drummond
Costumes : Cláudia Schapira
Creation 2018 – 14 dancers
Choreography : Joëlle Bouvier
Musics : excerpts from Bachianas Brasileiras by Heitor Villa Lobos, Bach’s St Matthew Passion, Melodia Sentimental by Villa Lobos (lyrics from Dora Vasconcellos) and poem Pátria Minha by Vinícius de Moraes
Lighting : Renaud Lagier
Costumes : Fábio Namatame
Assistant choreographers : Emilio Urbina et Rafael Pardillo
The São Paulo Dance Company is a young, ultra-dynamic company of faultless technique with a triple programme that is as virtuoso as it is creative.
Passionate and energetic, the performers combine international classic technique, fluidity and Brazilian swing.
The theme from Mamihlapinatapai, the work by Jomar Mesquita, evokes loving desire, taking its inspiration from the sensually colourful social dances of his own country.
Odisseia, by Joëlle Bouvier, re-examines the myth of Ulysses drifting on the sea, in light of the drama of today’s migrants. To music from Heitor Villa-Lobos, Joëlle Bouvier has chosen to mix excerpts from Bachianas Brasileira with the St Matthew Passion by Jean-Sébastien Bach.
Lastly, Cassi Abranches, the Brazilian choreographer, will deliver her latest creation, Agora, which explores all the meanings that can be applied to time, from duration to meteorology via musical measure.
A message from Brigitte Lefevre
The São Paulo Dance Company is a wonderful Brazilian company that deserves to be discovered. I was very aware of the fact that it has passed the reins onto Joëlle Bouvier, one of the emblematic choreographers of young French dance in the 1980s, who has since gone on to enjoy a stellar career. It also allows us to take note of a Brazilian choreographer who is still little-known in France, Cassi Abranches…and to enjoy the choreography of Jomar Mesquita with his nod to Brazilian dance.
Created in 2008 by the São Paulo State government, the São Paulo Dance Company is directed by Inês Bogéa, a former dancer with the Grupo Corpo, documentary maker and writer. Since then, the company, comprising some thirty dancers, has invited an audience of 695,000 people to enjoy its performances across the globe. This young and brilliant company has danced 39 new productions and 24 reprisals, all from the greatest choreographers of our time.
Designated Best Company 2019 by the professional syndicate of theater, music and dance criticism
Production Pró-Dança Association – Coproduction Chaillot – Théâtre National de la Danse
Raphaël Cottin & Jean Guizerix / Cie Humaine
dedicated to the memory of Wilfride Piollet – Creation 2018
Choreography, concept : Raphaël Cottin, with the help of Jean Guizerix
Performers : Raphaël Cottin et Jean Guizerix
Lighting : Catherine Noden
Costumes : Catherine Garnier
Sound engineer : Emmanuel Sauldubois
Musics : Jean-Sébastien Bach, Erik Satie, Pierre Chériza, Maurice Ravel, traditional music
La voix de Wilfride Piollet, évoquant René Char, est extraite du documentaire Chemins croisés de danse réalisé par Marie-Élise Beyne et Micheline Lelièvre.
Administration : Lise Daynac
Jean Guizerix and Raphaël Cottin, two friends, two dancers and two generations, come together for a magnificent and touching pas de deux.
In 1986, Parallèle appeared, a work devoted to the principle duo Wilfride Piollet and Jean Guizerix. They demonstrated their joie de vivre, their love of dance and above all, gave dance a completely new image, abolishing the barriers between classical and modern, feet apart or in parallel. In the guise of paying homage to this breath of fresh air that Wilfride and Jean were blowing, Raphaël Cottin, their pupil, created Parallèles. An invitation to journey between these two titles, this duo that reunites Jean Guizerix and Raphaël Cottin is also a way to breathe new life into the research by Wilfride Piollet, and her famous “flexible barres” that would change the way dance is taught and the vision of classic technique. The duo, intelligently lead, avoids the generational pitfalls, to better follow the path from transmission to shared source: the poetry of René Char, the music of Bach, Satie and Ravel, Haitian drums, a traditional Breton song, Jean’s exercises, balls, Wilfride’s exercises, hints from the repertoire… Their meeting on stage reveals an invisible part of dance, made of subtle shifts, light decomposition and plays with movement. The ensemble, carried by the two performers, is wonderfully gripping, as fluid as a breath, as serene as a garden, an ode to the pleasure of dancing as a pair.
A message from Brigitte Lefevre
This is a great homage to a great artist, Wilfride Piollet, a delicate story of transmission between a master and her pupil, who has himself become a choreographer. This is why I wanted this piece to be presented at Scène 55, near to the Rosella Hightower International Dance Centre studios. This is a duo that I believe must be watched by young dancers, and one I am particularly fond of.
After studying at the CNSMDP where he met Wilfride Piollet and Jean Guizerix in particular, Raphaël Cottin danced Daniel Dobbels, Odile Duboc and Christine Gérard, and in 2008 joined the company of Thomas Lebrun, installed at the Tours CCN since 2012. As a choreographer, he has created eight pieces within his company La Poétique des Signes, including Buffet à vif in 2014 (with Pierre Meunier and Marguerite Bordat) and C’est une légende in 2017, two pieces created at the Avignon Festival. A teacher and specialist in scripting movement, he passes on the movement analysis in Labanotation and Wilfride Piollet’s Flexible Barres technique.
Jean Guizerix joined the Paris Opera Ballet in 1964 and was appointed principal dancer in 1972. Drawn by the dance of his time, he created Merce Cunningham’s Un Jour ou deux, formed part of the group Nureyev and Friends and took part in global creations by the greatest choreographers, often partnered by Wilfride Piollet, his wife since 1971. For 50 years he continued a career boasting numerous encounters and saw himself entrusted with several positions without, however, quitting the stage.
Production La Poétique des Signes
Coproductions Ballet de l’Opéra national du Rhin, Centre chorégraphique national de Mulhouse, Centre chorégraphique national de Tours – direction Thomas Lebrun
Résidences : Studio l’Aire – Poissy, Les Deux îles – résidences d’artistes à Montbazon.
Subventions : DRAC Centre Val-de-Loire au titre de l’aide à la structuration, SPEDIDAM, Région Centre Val-de-Loire, Conseil départemental d’Indre-et-Loire, Ville de Tours.
Dedicated to Marguerite Wylde (1950-2017)
Creation 2018 – First in région – 5 dancers and 1 percussionist.
Choreography : Olivia Grandville
Performers : Lucie Collardeau, Clémence Galliard, Tatiana Julien, Olivia Grandville et Sidonie Duret
Percussions : Héloïse Divilly
Musics : Alexis Degrenier, Moondog.
Sound production : Jonathan Kingsley Seilman
Régie son Lucas Pizzini
Lighting : Yves Godin
Concept : Yves Godin, Olivia Grandville
Costumes : Eric Martin
Images : Olivia Grandville
Olivia Grandville pays homage to the pow-wow, the spiritual and militant dance of a refuted culture, but one that is still alive: that of the Indigenous Peoples of Canada.
Olivia Granville’s A L’Ouest took shape during a journey to the heart of the indigenous reserves in Quebec and New Mexico. However, the first idea for this piece was just as musical and sound orientated as it was choreographical. It resounds to this obstinate beat, the same one that fascinated the unclassifiable musician Moondog during an introduction to pow-wow, and which continues today to embody the resistance and spirituality of native peoples.
A L’Ouest is a dance to a beat that is both interval and obstinance, the primordial movement of the heart and humanity at work. This unique and hollow blow, light then hard, until the time the spirit comes and jangles the nerves. A l’Ouest is a dance in the here and now, the confirmation of a stubborn verticality, in suspense, that beats the ground when claiming it. Waterfalls, igloos and snowy landscapes are on the menu for this harsh and poetic evocation. The movement plays with pauses and suspensions, nebulous slowdowns and frenetic pulses. Five dancers hit the ground, whirl around, lend themselves to astonishing solos and then enter a hypnotic and wild dance that pulses to the sound of mysterious rhythms.
A l’Ouest is the revenge of time against the event and gives us another perception of time, as intense as life is short.
A message from Brigitte Lefevre
Olivia Grandville is a dancer and choreographer with a unique career, who has been able to risk leaving the Paris Opera to continue a great career. I am very touched by the loyalty she has shown to Dominique Bagouet, in being the origin of the Carnets Bagouet, and in reprising his works, particularly for the Paris Opera. She has become a choreographer of insatiable curiosity, producing erudite pieces full of humour and originality.
Olivia Grandville followed a classical dance education at the Paris Opera and joined the corps de ballet in 1981. Her natural disposition would lead her to performing the modern repertoire (particularly new French dance). In 1988, she decided to devote herself exclusively to modern dance and resigned from the Paris Opera to enter the Compagnie Dominique – Bagouet, where she would be the principle performer for this choreographer’s last creations. From 1993 to date, she has turned definitively towards creation with the company she founded: La Spirale de Caroline.
Textes et entretiens : Olivia Grandville
Remerciements pour leur coopération et leurs témoignages à Carl Seguin, Réjean Boutet, Malik Kistabish, Marguerite Wylde, Israël Wylde-McDougall, Katia Rock et Marie Léger.
Regard extérieur : Magali Caillet
Collaborations : Stéphane Pauvret, Aurélien Desclozeaux, Anne Reymann, Fabrice Le Fur
Remerciement à Amaury Cornut.
Administration, production : Christelle Dietzi
Développement et diffusion : Charles Eric Besnier (Bora Bora productions)
Production : La Spirale de Caroline
Co-productions : Le lieu unique, scène nationale de Nantes ; La Place de la Danse – CDCN Toulouse / Occitanie ; la Ménagerie de Verre (Paris) ; le Centre Chorégraphique National de Nantes ; de Charleroi danse, Centre chorégraphique de la Fédération Wallonie-Bruxelles ; le Centre National de Danse Contemporaine d’Angers.
Avec l’aide de l’ADAMI pour la création et pour la captation.
Avec les soutiens de la Ville de Nantes, du Département de Loire-Atlantique, de l’Institut Français et de l’Ambassade de France à Ottawa, Canada.
La Spirale de Caroline est soutenue par le Ministère de la Culture – Direction Régionale des Affaires Culturelles (Pays de la Loire) au titre du conventionnement et par la Ville de Nantes sur son fonctionnement.
S’Poart - Mickaël Le Mer
Coproduction Festival de Danse – Cannes Côte d’Azur
Creation 2019 – World first – 9 dancers
Choreography : Mickaël Le Mer
Performers : Dylan Gangnant, Khalil Chabouni, Maxime Cozic, Naoko Tozawa, Andréa Mondoloni, Noé Chapsal, Dara You, Naïma Souhaïr and Bruce Chiefare
Assistant choreographer : Lise Dusuel
Lighting : Nicolas Tallec
Concept : Guillaume Cousin
A world premiere for a choreographer who ceaselessly exceeds the boundaries and codes of hip-hop dance in order to break dance free of its original constraints.
With his new creation, Mickaël Le Mer confirms an already-sensed talent, carried by a hip-hop style that has finesse, delicate lines, where each breakdance move is already a world in itself. He was able to create an urban dance, free of mandatory passages, blending windmills and slides, horizontal and vertical. The result is a subtly uniform choreography, open to expressions from various origins that enrich a lively movement with the freedom to come within an abstract approach. Often impregnated with a thoroughly poetic sensitivity, his pieces still retain the dazzling moments unique to the urgency of acrobatic breakdance, that are part of a well-practiced space.
His new creation, Butterfly, is aerial and stunning, with its six male dancers and three virtuoso female dancers, who flit around with elegance, without care and as free as a butterfly. In many traditions the butterfly symbolizes a happy metamorphosis. In this case, it means a choreographical evolution, but also human mutation: a path that requires reflection.
A message from Brigitte Lefevre
Mickaël le Mer has developed a truly choreographical style from hip-hop, that is both poetic and sensitive, with great attention to the stage area. I am pleased to be able to present an inventive artist who, without detracting from physical prowess, knows how to build a highly graphic stylistic and visual universe.
Mickaël Le Mer discovered hip-hop at the start of the 1990s. He trained first and foremost within the Compagnie S’Poart collective adventure as of 1996. It was within this collective setting that Mickaël Le Mer made his first attempt as a choreographer. One of his biggest successes was Na Grani, created for ten Russian and French dancers from hip-hop and modern dance, within the framework of the Franco-Russian exchange year in 2010. Since then, he has created Instable (2012), Rock It Daddy (2013), Rouge (2014), Traces (2015) and Crossover (2017).
Production : Compagnie S’Poart
Partenaires financiers : DRAC, Pays-de-la-Loire, Région des Pays-de-la-Loire, Ville de La-Roche-sur-Yon, Conseil Départemental de la Vendée
Coproductions : Le Grand R, scène nationale de La Roche-sur-Yon, CNDC Angers, Festival de Danse Cannes-Côte d’Azur, Espace des Arts de Chalon sur Saône, Théâtre de Suresnes Jean Vilar – Suresnes Cités Danse.
Autres soutiens : Adami, Spedidam
Didascalie - Marion Lévy
& Provence Alpes Côte d’Azur Orchestra
Coproduction Festival de Danse Cannes-Côte d’Azur / Théâtre de Grasse / Orchestre de Cannes
Creation 2019 – World first
Stage, choreography : Marion Lévy – Cie Didascalie in collaboration with Joachim Olaya
With Marion Lévy, Natacha Kierbel, Orchestre de Cannes
and Pôle National Supérieur de Danse Rosella Hightower
Music : Maurice Ravel
Musical director : Benjamin Lévy
Dramaturgy and text : Mariette Navarro
Assistant director : Damien Dutrait
Luminous set design: Collectif Scale
Costumes : Hanna Sjödin
This global creation was the chance for an exceptional collaboration between the choreographer Marion Lévy, the Scale Collective, the Cannes Provence Alpes Côte d’Azur Orchestra, directed by Benjamin Lévy and the Rosella Hightower Pôle National Supérieur for Dance.
Mother Goose is a refined and light work by Maurice Ravel written from the tales by Charles Perrault (Sleeping Beauty, Little Thumb), Madame Leprince de Beaumont (Beauty and the Beast) and Madame d’Aulnoy (The Green Serpent), which were transposed into ballet. This adaptation with a fantastical atmosphere is counted among the most successful of Maurice Ravel’s works in the choreographical field.
Marion Lévy has seized the tales delicately and with humour, in order to debunk them: what if Sleeping Beauty refused to wake up? What if the wicked queen was really more beautiful than her stepdaughter? What if Little Thumb had commercial desires?
Marion Lévy transforms the score into a playground for musicians and dancers with boldness and mischief. It must be said that the choreographer, full of self-derision, loves to have her writing confronted by other artistic languages: music, prose, video, light…
Mother Goose is a unique musical and visual adventure. An orchestral dance, a concert embellished by movement and the corps and by the bright installations from the Scale collective.
This project is the chance for a collaboration between the Rosella Hightower dance school and the Cannes Orchestra. Pupils from the dance school will be involved in the project. They will work closely with the body of musicians. Likewise, the orchestra itself will be called upon to dance. The music will thus be enhanced by the dancers’ movements and the choreography will underline the poetry and marvel of the music, all coordinated by Marion Lévy.
A message from Brigitte Lefevre
Bringing together the Cannes Orchestra, directed by Benjamin Lévy, Marion Lévy, an artist associated with the Grasse Theatre and the dancers from the Rosella Hightower dance school all naturally fall within the partnership that we are forming around this Cannes Côte d’Azur Dance Festival.
Trained at the Centre National de Danse Contemporaine [National Centre for Modern Dance] in Angers, Marion Lévy was a member of the Rosas company directed by Anne-Teresa de Keersmaeker from 1989 to 1996. In 1997, Marion Lévy founded the company Didascalie and in particular created L’Amusette, La Langue des Cygnes, Dans le ventre du loup, etc. She also worked for the cinema and the theatre. In 2015, she produced two pieces in conjunction with Mariette Navarro and Joachim Olaya: Et Juliette and Les Puissantes. And in 2019, Training.
After having been trained at the CNSM in Lyons and Paris and distinguishing himself at a very young age, winning the title of “musical revelation of the year 2005”, and in 2008 the “Young Talent – Orchestra leader” prize from the ADAMI, Benjamin Lévy, very active on the European symphonic and lyrical stages, was appointed in November 2016 as the musical director for the Cannes – Provence Alpes Côte d’Azur Orchestra.
For more than 40 years, the Cannes Provence Alpes Côte d’Azur Orchestra has travelled the roads of its region and set its instruments down, for the length of a concert, in auditoria, schools, churches, sylvan theatres and pop-up stages in the heart of nature, always with the same enthusiasm. The Orchestra constantly seeks to offer the public innovative and daring programmes, carried by famous and top-flight artists.
The Opéra National du Rhin Ballet
Creation 2019 – First in region
Choreography : Radhouane El Meddeb
Music : Piotr Ilitch Tchaïkovski
Scenery : Annie Tolleter
Costumes : Celestina Agostino
Lighting : Eric Wurtz
The choreographer tackles a classic masterpiece with the troupe from the Opéra National du Rhin Ballet, to the music of Tchaikovsky.
Entrusting modern choreographer Radhouane El Meddeb with the reworking of Swan Lake for the dancers of the Opéra National du Rhin Ballet was a daring move by its director, Bruno Bouché. Radhouane El Meddeb was able to respect and intensify this masterpiece, in which he expressed tumult and atmosphere. His choreography is a stunning analysis of the formative layers in terms of the level of vocabulary, whether on a symbolic or imaginary plane. We mustn’t forget that this ballet is part of a quasi-global collective subconscious, to the extent that it alone could represent all classical dance.
Radhouane El Meddeb has created a sort of long romantic daydream, from where the emblems of the original ballet emerge, like resentful sailors: a flutter of legs, a twist of arms, a rustle of wings, a curve of the neck, a twitch of the face… all assigned randomly to the troupe members, male and female alike. Lastly, and this is the brilliance of this version, the real challenges of Swan Lake appear: the desire to take flight and the animalistic nature portrayed by each dancer, their passion to be someone else…and of course, the sexuality for which this bird has become the mythological champion for both man and woman alike. The lightness of the costumes by Celestina Agostino, the magnificent sets by Annie Tolleter and the lighting from Eric Wurtz add to the quality of this revitalized Lake.
A message from Brigitte Lefevre
Presenting a new version of Swan Lake with music from Tchaikovsky is always a challenge. This is what Bruno Bouché is offering us with this reworking that he wanted to entrust to modern choreographer Radhouane El Meddeb.
While moving away from the story and psychology of the classic ballet, he has kept the richness of the script and the imagery of the dance by having a vibrant poetry come forth, created from abstract and emotion.
The Opera National du Rhin Ballet was created in 1972 and enriched by its successive directors, who all contributed, through their personal impact and their artistic choices, to making this company a troupe of unilaterally recognized know-how and quality. The Opera national du Rhin Ballet is one of the rare French companies to be able to move equally happily from baroque to modern, from classic to contemporary, in order to exhibit dance in all its forms.
Bruno Bouché, Director of the Opera national du Rhin Ballet since 2017, spent his entire career as a dancer with the Opera national de Paris Ballet. He was the artistic director for Incidence Chorégraphique, a group of choreographic creations for the Paris Opera dancers in 1999, then took over the artistic direction of the Les Synodales Festival in Sens, as well as the municipal theatre dance season and the youth company modern choreography competition in 2013. He has created his own pieces since 2003, which he has regularly presented on the stage of the Palais Garnier and across the globe.
Radhouane El Meddeb trained at the Higher Institute of Dramatic Arts in Tunis and was named the young hope of Tunisian theatre in 1996. During these years devoted to theatre, he worked on and off with Tunisian choreographers as a performer and an artistic collaborator. Because the theatre was no longer enough for him, in 2005 he created his first work, a solo Pour en finir avec MOI. A real revelation that brought him into dance and to becoming a choreographer-performer. Since then, he has created several routines for the biggest festivals in France and abroad (Los Angeles in the USA).
Production : Ballet de l’Opéra national du Rhin/Compagnie de SOI
Le Ballet de l’Opéra national du Rhin et la Compagnie de SOI s’associent pour un montage de production innovant de la création du Lac des Cygnes de Radhouane El Meddeb.