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EUGÉNIE ANDRIN COMPANY
Breathe, Breathe !
Creation 2021
World Première
Coproduction Anthéa / Festival de Danse Cannes – Côte d’Azur France
Performance with 45 dancers with students from Art option from Nice High School G. Apollinaire and from Antibes High School Audiberti.
Choreography : Eugénie Andrin
Dramaturgy : Vanessa d’Ayral de Sérignac
Music : Clément Althaus
500 years ago, several hundred Strasbourg residents were struck by an epidemic of uncontrollable dancing. Eugenie Andrin transposes this story to the context of our modern pandemic in order to present an immense dance with 45 participants.
In 1518, the population of the city of Strasbourg was seized by a dancing madness for weeks on end … What if the situation today were to plunge our society into collective hysteria …?
Tuesday
November 30th
19:00
Wednesday
December 1st
21:00
Timing 1h
Anthéa - Salle Pierre Vaneck (Antibes)
Tickets from 12€ to 27€
The best prices for 6 selected shows!
For all audience
Discussion after the performance with the artistic team
AROUND THE FESTIVAL
Shared evening
Tuesday, November 30th
19:00 – Eugénie Andrin Company
Breathe, Breathe !
20:30 – Rocía Molina
Al fondo riela (Lo otro del Uno)
LES
Carnets
du festival
CCN - BALLET DE LORRAINE
Petter Jacobsson
With a dazzling and unprecedented programme, the CCN - Ballet de Lorraine brings together three pieces, all tied together by the common denominator of genius of composition and the rigour of writing demonstrated by the great deconstructors of classic dance.
For Four Walls
Creation 2019 from Merce Cunningham ‘s Four Walls
French Riviera Première
Performance with 24 dancers and 1 pianist
Choreography: Petter Jacobsson and Thomas Caley – Music: John Cage
Sounddance
Creation 1975
French Riviera Première
Performance with 10 dancers and 1 musician
Choreography: Merce Cunningham – Music: David Tudor
STATIC SHOT
Creation 2020
French Riviera Première
Performance with 24 dancers
Choreography: Maud Le Pladec – Music: Pete Harden and Chloé Thévenin
A programme that pays tribute to Merce Cunningham, a choreographer who revolutionised the way we think about contemporary dance. Sounddance, a fast and energetic choreography, is punctuated by powerful music specially composed by David Tudor. In For Four Walls, Petter Jacobsson and Thomas Caley take inspiration from Four Walls, the first collaboration between Merce Cunningham and John Cage: a youthful and truly intimate piece, full of opposing emotions. Did Maud Le Pladec imagine STATIC SHOT for the dancers of the CCN – Ballet de Lorraine or as a means of understanding movement through cinema ?
20:00 Timing 2h with intermission
Palais des Festivals - Théâtre Debussy (Cannes)
Tickets from 10€ to 28€
The best prices for 6 selected shows!
For all audience
Discussion after the performance with the artistic team
AROUND THE FESTIVAL
Discussion with Laura Cappelle
Pioneering women choreographers
Saturday, November 27th 18:30
LES
Carnets
du festival
KAORI ITO
Le monde à l’envers
Creation 2021
Coproduction Festival de Danse Cannes – Côte d’Azur France
Performance with 3 dancers
Choreography : Kaori Ito
Music : Joan Cambon
Dancer, choreographer, videographer, visual artist and actor coach: Kaori Ito can do it all. At the Cannes Dance Festival, she created her first piece for young audiences, developed around the world of childhood.
Performer of the works of Philippe Decouflé, Angelin Preljocaj and Alain Platel, Kaori Ito presents her first play here, dedicated to young audiences, in which – with the help of tragic heroes – she hopes to tell children the story of a world that walks on its head and needs their help to restore its magic.
14:30 Timing 40 min
Théâtre La Licorne (Cannes La Bocca)
Tickets from 10€ to 14€
The best prices for 6 selected shows!
For children from 4 years old
Discussion after the performance with the artistic team
AROUND THE FESTIVAL
Discussion with Laura Cappelle
Pioneering women choreographers
Saturday, November 27th 18:30
Des ateliers de pratique de la danse proposés avec Kaori Ito
LES
Carnets
du festival
LOUISE LECAVALIER
Stations
Creation 2020
French Première
Choreography and dance: Louise Lecavalier
Musics: Colin Stetson, Suuns and Jerusalem in My Heart, Teho Teardo et Blixa Bargeld
Original music and arrangements: Antoine Berthiaume
A true icon of contemporary dance, Louise Lecavalier seeks through this solo to continue her research based on virtuosity, surpassing oneself and taking risks ... A quest for the absolute in the form of a breath-taking one-woman-show
A huge figure in contemporary dance and the nearly twenty-year muse of the Canadian company La La La Human Steps and its choreographer Edouard Lock, Louise Lacavalier has left her mark on the world through the energy of her interpretation and her duets with David Bowie , with whom she has shared the stage. In Stations, the choreographer continues her dizzying exploration of dance across four seasons and as many states of the body: fluidity, control, meditation and obsession
17:00 Timing 1h
Théâtre Croisette - Hôtel JW Marriott (Cannes)
Tickets from 10€ to 18€
The best prices for 6 selected shows!
For all audience
Discussion after the performance with the artistic team
AROUND THE FESTIVAL
Documentary film screening
LOUISE LECAVALIER – SUR SON CHEVAL DE FEU
Sunday, November 28th 10:00
Discussion with Laura Cappelle
Pioneering women choreographers
Saturday, November 27th 18:30
LES
Carnets
du festival
MARTHA GRAHAM DANCE COMPANYDirection Janet Eilber
Steps in the street
extrait de Chronicle (1936)
Performance with 10 dancers
Choreography and costume design : Martha Graham
Music : Wallingford Riegger Original lighting by Jean Rosenthal
Lighting for reconstruction by David Finley
Soloist interpreter : Leslie Andrea Williams
Interpreters : So Young An, Laurel Dalley Smith, Natasha M. Diamond Walker, Devin Loh, Marzia Memoli, Anne O’Donnell, Kate Reyes, Anne Souder, Xin Ying
Ekstasis
Création 1933
Interpreter : Natasha M. Diamond-Walker
Choreography and costume design: Martha Graham
Solo re-imagined in 2017 by Virginie Mécène – Music: Ramon Humet
Original Music by Lehman Engel
Music reimagined by Ramon Humet
Lighting by Nick Hung
Scavengers
Creation 2021 – Performance with 9 dancers
Choreography : Andrea Miller – Music : Will Epstein
European Première
Luremiès : Burke Brown
Costumes : Oana Botez
Assistant Creative : Connor Speetjens
Interprètes : Laurel Dalley Smith,
Lloyd Knight, Jacob Larsen, Lloyd
Mayor, Marzia Memoli, Anne
O’Donnell, Lorenzo Pagano, Anne
Souder et Leslie Andrea Williams
Interpreters : Laurel Dalley Smith, Lloyd Knight, Jacob Larsen, Lloyd Mayor, Marzia Memoli, Anne O’Donnell, Lorenzo Pagano, Anne
Souder et Leslie Andrea Williams.
Acts of light
1981
Choreography: Martha Graham
Music: Carl Nielson – Performance with 16 dancers
Acts of Light:
- Conversation of Lovers
Xin Ying and Lloyd Knight
- Lament
Anne O’Donnell
Alessio Crognale, Lloyd Knight, Jacob Larsen, Lloyd Mayor, Lorenzo Pagano, Richard Villaverde
III. Ritual to the Sun
So Young An, Alessio Crognale, Laurel Dalley Smith, Natasha M. Diamond Walker, Lloyd Knight, Jacob Larsen, Devin Loh, Lloyd Mayor, Marzia Memoli, Anne O’Donnell, Lorenzo Pagano, Kate Reyes, Anne Souder, Richard Villaverde, Leslie Andrea Williams, Xin Ying
This exciting programme from the Martha Graham Company shines a spotlight on the roots and branches of the technique invented by the high priestess of modern dance.
Martha Graham passed away 30 years ago. The Festival hopes to pay tribute to this American dancer, choreographer, teacher and true pioneer who revolutionised dance. Based on major pieces from her repertoire, the company takes care to commission works from those pushing back the boundaries of creation today, such as Andrea Miller. With Umbra, a reference to each sunset that may serve as a moment of relief, fear or wonder, the choreographer explores the structure, chaos and mystery that remains after this seemingly ordinary moment.
20:30 Timing 1h30
(with intermission )
Grand Auditorium - Palais des Festivals (Cannes)
Tickets from 10€ to 42€
The best prices for 6 selected shows!
For all audience
Discussion after the performance with the artistic team
AROUND THE FESTIVAL
Short film screenin
A DANCER’S WORLD de Peter Glushanok avec Martha Graham
Saturday, November 27th 18:00
Discussion with Laura Cappelle
PIONEERING WOMEN CHOREOGRAPHERS
Saturday, November 27th 18:30
LES
Carnets
du festival
Cannes Jeune Ballet
Rosella Hightower
Directed by Paola Cantalupo
IDÔLE(S) - Création Emilie Lalande
Première et commande du Festival de Danse Cannes-Côte d’Azur
Interprètes : Benedetta Cimadamore, Angelo Cosentino, Sellam El Achari, Ana Raquel Ferreira Da Silva, Noemi Gregnanin, Celia Marquez, Anri Matsuda, Ebony Murray, Danilo Musumeci, Miyuu Narisawa, Elinor Ostrovsky, Stella Perniceni, Clara Polaniok, Anna Puigcerver, Hina Yamaguchi, Chia Fen Yeh
“Si personne ne sait quand les hommes commencèrent à se faire des idoles, on sait qu’elles sont de l’antiquité la plus haute”. (VOLTAIRE)
De tout temps les hommes se sont créés des idoles. Autrefois divinités religieuses, aujourd’hui chanteurs, acteurs ou bloggers…
Comment naît et se traduit ce besoin pour l’homme d’idolâtrer des gens qu’il a choisi, lui-même, de mettre sur un piédestal.
Besoin vital individuel ou folie collective ?
RENCONTRES - Création Filipe Portugal
Première et commande du Festival de Danse Cannes-Côte d’Azur
Interprètes : Eduardo Bolsa Neves, Simone Gatti, Ana Isabel Gomez Torres, Akari Kawamoto, Yuzuki Kota, Sofia Lacava, Mayu Nishizawa, Djie Oiwa, Michelle Salvatore, Khevyn Sigismondi, Claudia Sportelli, Reona Tabuchi, Carlos Tostado Servan, Zoé Wojcik
Créer pour des jeunes danseurs a toujours été un grand défi pour moi. Leur désir d’en savoir plus et d’explorer toutes leurs capacités est toujours très visible, et cela rend le processus créatif vraiment intéressant et gratifiant.
Le Jeune Ballet Rosella Hightower me transmettra l’inspiration dont j’aurai besoin. Je pourrai trouver leurs voix individuelles dont ils ne sont peut-être pas encore conscients. C’est ce voyage dans l’inconnu qui rendra cette création passionnante et intense.
Je suis un danseur formé à la danse classique et cela sert de base pour mon travail de chorégraphe. J’aime explorer les limites de la danse classique et trouver de nouvelles émotions. Cela me permet d’arriver de plus en plus loin avec mon propre langage chorégraphique, en m’inspirant par ce que les autres danseurs peuvent m’offrir en répondant à ce que je leur demande. C’est dans ce dialogue entre les danseurs et moi que j’obtiens les résultats que je veux et auxquels je m’attends.
J’ai hâte de connaître les danseurs du Jeune Ballet Rosella Hightower et qu’on commence ensemble cette création. Je me sens très optimiste par rapport à cette expérience et je ne peux espérer que le meilleur des résultats.
MICHELLE, EDUARDO, SIMONE - Création Arthur Perole
Première et commande du Festival de Danse Cannes-Côte d’Azur
Interprètes : Michelle Salvatore, Eduardo Bolsa Neves, Simone Gatti
Chorégraphe : Arthur Perole
Interprètes : Eduardo Bolsa Neves Simone Gatti Michelle Salvatore
Musique : Thomas Bangalter « Sangria »
Production : Compagnie F
Coproduction : Pole national supérieur de danse Rosella Higtower
En rencontrant trois élèves du Cannes Jeune Ballet Rosella Hightower, Arthur Perole souhaite mettre en lumière la période charnière que vivent ces futur.e.s interprètes. Sous forme de trois portraits cohabitant dans le même espace-temps, les spectateurs découvriront leur parcours de danseur.euse construit autour d’un rêve parfois difficile à porter. Au sein d’une écriture épurée, les trois interprètes navigueront entre corps et voix, virtuosité et aveux, détermination et sacrifices, rendant hommage à l’obstination nécessaire pour se réaliser.
COUZ - Emanuel Gat
Interprètes : Eduardo Bolsa Neves, Simone Gatti, Ana Isabel Gomez Torres, Akari Kawamoto, Yuzuki Kota, Sofia Lacava, Mayu Nishizawa, Djie Oiwa, Michelle Salvatore, Khevyn Sigismondi, Claudia Sportelli, Reona Tabuchi, Carlos Tostado Servan, Zoé Wojcik
Créer un système capable de gérer dix danseurs de manière fluide et de façon claire demande des réajustements et des adaptations spécifiques qui sont bien différents de ceux propres aux petits groupes. Le changement d’échelle, la complexité et densité de l’information à structurer, dévoilent la logique interne et la mécanique des groupes humains, ainsi que le rôle de la chorégraphie en tant qu’expérience dans les sciences sociales, la prise de décisions, les stratégies collaboratives et l’allocation de ressources. L’œuvre se construit autour des relations de causalité entre la responsabilité et la liberté.
“COUZ” est une expérimentation sur l’élaboration de mécanismes liés à la chorégraphie comme un événement se construisant en temps réel. Les danseurs « mènent » la pièce et la recréent à chaque fois, tout en examinant ainsi le rôle de l’artiste comme créateur sur scène et en direct.
The Rosella Hightower Cannes Youth Ballet is one of the educational tools at the Pôle national supérieur for Dance Rosella Hightower, which allows students to develop their stage experience, thanks to creations or reprisals by major choreographers
Presentation
Brigitte Lefèvre created a strong partnership between the Ecole Supérieure for Dance in Cannes, run by Paola Cantalupo, and the Cannes Youth Ballet, which brings together pupils from the last year of training at the Pôle Supérieur, i.e. young dancers at the start of their professional careers. In this, they will have to adapt to the needs of companies and choreographers, they must know how to put their technical and artistic skills to the service of a work, a project or to bring existing repertoires back to life, in other words, and in both cases, to perform, in order to bring the spirit of the original creation (back) to life, by enriching it with a modern energy.
This is the passionate and rich path followed by the young dancers from the Pôle Supérieur National for Dance. In particular with different training routes on its sites at Cannes-Mougins and Marseilles, navigating thought diverse and specific choreographical worlds.
For this 2019 edition of the Festival, Paola Cantalupo and Brigitte Lefèvre want to demonstrate these twin aspects of the training for young dancers with creations entrusted to Emilie Lalande, Philippe Portugal, Arthur Perole and the reprisal of a piece by Emanuel Gat.
A message from Brigitte Lefevre
Of course, bringing Arthur Perole, Emilie Lalande, Felipe Portugal and Emanuel Gat together with the Cannes Youth Ballet is very exciting and stimulating. I would like to thank the Ecole Supérieure for Dance in Cannes for lending itself to this new adventure, which in this way continues to perpetuate the wishes of Rosella Hightower. I am therefore very happy to be able to present, through this show, the reality and the actual challenges of the performer’s work and I thank Paola Cantalupo for this partnership, which in my eyes is extremely important.
Le Pôle National Supérieur de Danse Rosella Hightower
The National Superior Dance Center Rosella Hightower was born from the grouping of the professional training of the School of Dance of Cannes-Mougins Rosella Hightower and the higher cycle of the National School of Dance of Marseille. This Higher Pole, under the artistic and pedagogical direction of Paola Cantalupo, is part of the networks of higher education clusters of the Ministry of Culture and major dance schools at the international level.
Legals mentions
Le Pôle National Supérieur de Danse Rosella Hightower est subventionné par le Ministère de la Culture et de la Communication/DRAC PACA, la Région Sud Provence-Alpes-Côte d’Azur, le Département des Alpes-Maritimes, la Ville de Mougins et la Ville de Cannes.
Sunday 1 december 2019
postponed to
wednesday
4 December 2019
20h • Duration : 1h20
(with intermission)
Théâtre Croisette
from 10 € to 22€
for all
Meeting with the artistic team at the end of the show
Festival
journal
STUDIOTRADE PLATFORM
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.
Performers : Lisa Kirsch, Abine Leao Ka, Florian Patschovsky, Alice Smith, Caroline Simon
Musician : André Zimmermann
15:30 – 15:50 “A solo for society ”
solo
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) :
REQUIEM
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.
TRAVERSE
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”
duo
Company : Liisa Pentti +Co (Finland)
Choreography and concept : Liisa Pentti
Performers : Bo Madvig (DK), Riina Huhtanen (FI)
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.
Presentation
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.
Saturday
14 december 2019
10h30 • 17h30
Auditorium des Arlucs (Cannes La Bocca)
free admission - Compulsory registration
for all
festival
Journal
- Article ·
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.
Presentation
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.
Legals mentions
© BBL – Lauren_Pasche
© BBL – Gregory_Batardon
© BBL – Ilia_Chkolnik
Friday
29 november 2019
&
Saturday
30 november 2019
Friday 29 november
20h30 • Duration : 2h15
(with intermission)
Saturday 30 november
14h00 • Duration : 2h15
(with intermission)
Palais des Festivals
from 15€ to 62€
from 6 years old
Festival
journal
- Article ·
CHRISTIAN RIZZO, MARIE-AGNèS GILLOT, ANDRéS MARíN
Magma
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
Christian Rizzo
Music : Didier Ambact, Bruno Chevillon, Vanessa Court
Lights : Caty Olive
Choreography : Marie-Agnès Gillot et Andrés Marín
Artistic direction, concept and costumes : Christian Rizzo
Music : Didier Ambact, Bruno Chevillon, Vanessa Court
Lights : Caty Olive
Artistic collaborator : Roberto Martinez
With : Marie-Agnès Gillot et Andrés Marín
Didier Ambact et Bruno Chevillon
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.
Presentation
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.
Choreographers
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 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.
Mentions obligatoires
Production Théâtre de Suresnes Jean Vilar
Coproduction Chaillot – Théâtre national de la Danse / Festival de Danse – Cannes Côte d’Azur / La Comédie de Clermont-Ferrand scène nationale
Avec le soutien de ICI-CCN Montpellier / Occitanie et de la Junta de Andalucia
Commande Festival de Danse – Cannes Côte d’Azur
Sunday
15 december 2019
18h
Palais des Festivals
from 10€ to 46€
from 8 years old
Festival
Journal
- Article ·
James Sewell Ballet
Titicut Follies
Based on Frederick Wiseman’s groundbreaking 1967 documentary ‘Titicut Follies’.
Creation 2017 – 11 dancers
Choreography : James Sewell
Dancers : Jarod Boltjes, Ashley Chin-Mark, Jayson Douglas, Chloe Duryea, Carl Flink, Arimee Gambill, Andrew Lester, Da’Rius Malone, Stephanie Moffett-Hugg, Eve Schulte, James Sewell
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.
Presentation
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 choreographer
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.
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7 december 2019
20h30 • Duration : 1h20
Palais des Festivals
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