- Article ·
Menu
A+
| A-
Cie
Arthur Perole
Ballroom
Creation 2019 – 6 performers
Choreography bu Arthur Perole and with performers
Art Assistant : Alexandre Da Silva
Performers : Julien Andujar, Séverine Bauvais, Marion Carriau, Joachim Maudet, Alexandre Da Silva, Lynda Rahal
Composition : Giani Caserotto
Lighting : Anthony Merlaud
Costumes : Camille Penager
Vocal coach : Mélanie Moussay
Outside look : Philippe Lebhar
Generale direction, lighting direction : Nicolas Galland
Sound direction : Benoit Martin
Ballroom’s performance will be preceded by the show “Michelle, Simone, Edouardo”.
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.
Choreography : Arthur Perole
Performers : Eduardo Bolsa Neves Simone Gatti Michelle Salvatore
Music : Thomas Bangalter « Sangria »
Production : Compagnie F
Coproduction : Pole national supérieur de danse Rosella Hightower
Arthur Perole constructed Ballroom, his 2019 creation, from a reflection on practicing dance as a way of freeing the body.
Presentation
What is there in common between Tarentelle and Voguing? Between a traditional dance from Southern Italy and a performative dance of underground homosexual circles in New York in the 80s? Extravagance and trance, functioning as a safety valve in the face of social or physical suffering, in the case of the Tarentella, supposed to soothe the suffering due to the bite of a spider. Arthur Perole, imbued with these two sources of inspiration, uses them as a creative spark. But Ballroom is above all a piece at once political and poetic. Politics, because choreography requires thinking about communion, being together and mutual attention, but also the collective outlet. She questions the gathering force of the group, the community. The piece aims to reach the audience, to transmit a physical vibration, a sensory excitation. As soon as the doors of Arthur Perole’s Ballroom open, the six performers greet the audience in a festive atmosphere, the bodies are grilling, transforming … the party is getting ready.
A message from Brigitte Lefèvre
I always find it interesting to follow the approach of choreographers who choose to have their creations evolve.
This is the case with Arthur Perole in this work that would firstly have been a participatory performance, FOOL D’HIVER, at La Conciergerie, a performance entitled FOOL at the Château d’If, both within the framework of Monuments in movement, before being presented in its spectacular form in Draguignan within the framework of the Cannes Côte d’Azur Dance Festival. Much rooted in the Provence-Alpes-Côte d’Azur region, he will also create a solo for the Cannes Youth Ballet during this edition.
The choreographer
In 2007, Arthur Perole joined the Conservatoire National Supérieur for Music and Dance in Paris. At the end of this training, Arthur continued his career as a performer for numerous choreographers. Cie F was created in 2010 in Mouans-Sartoux and in 2018 moved to Marseilles where it still resides.
Distribution
Production diffusion : Sarah Benoliel
Remerciements : Tadeo Kohan
Legals mentions
Production : Compagnie F
Coproductions : Chaillot – Théâtre National de la Danse, Théâtres en Dracénie – scène conventionnée pour la danse, Le Pôle des Arts de la Scène – Friche de la Belle de Mai, Merlan scène nationale de Marseille, Réseau Traverses, Charleroi-danse, centre chorégraphique de Wallonie – Bruxelles, Théâtre Durance scène conventionnée d’intérêt national – Château-Arnoux-Saint-Auban, KLAP Maison pour la danse (résidence de finalisation 2019), Ballet National De Marseille, CCN2 Grenoble
Avec le soutien du Théâtre Paul Eluard de Choisy-le-Roi, Charleroi-danse centre chorégraphique de Wallonie – Bruxelles, L’Etang-des-Aulnes, Le Dancing de la compagnie BEAU GESTE et Châteauvallon – scène nationale.
Avec le mécénat du groupe de la Caisse des dépôts.
La compagnie est subventionnée par la DRAC Provence-Alpes-Côte d’Azur (aide à la structuration), la Région Sud Provence-Alpes-Côte d’Azur, le département des Bouches-du-Rhône, la ville de Marseille.
Arthur Perole est artiste associé au Théâtres en Dracénie scène conventionnée dès l’enfance et pour la danse.
Tuesday
10 december 2019
20h30 • Duration : 1h00
Théâtres en Dracénie
from 10€ to 22€
From 13 years old
Shuttles for 1€
18h30 : Departure from Parvis Palais des Festivals (Cannes)
Return at the end of the representation
Reservation before the 21 of november
Festival
journal
Sasha Waltz & Guests
Körper
Creation 2000 – 13 dancers
Choreography and dancers : Davide Camplani, Clémentine Deluy, Lisa Densem, Juan Kruz Diaz de Garaio Esnaola, Luc Dunberry, Nicola Mascia, Grayson Millwood, Michal Mualem, Virgis Puodziunas, Claudia de Serpa Soares, Xuan Shi, Takako Suzuki, Niannian Zhou
Under the direction of Sasha Waltz
Music : Hans Peter Kuhn
Concept : Thomas Schenk, Heike Schuppelius and Sasha Waltz
Körper, the flagship piece by Sasha Waltz, was created in 2000, and here it is nearly 20 years on. Such a long life already portrays the exceptional nature of the work.
Presentation
The only German choreographer to have successfully make a name for herself with that of Pina Bausch, Sasha Waltz assumes the heritage in part, at a theatrical level exacerbated by dance. Körper is a suite of enigmatic and fascinating tableaux, that all have the common denominator of the body in all its states, symbolic, real or imaginary with all its constructions, physical or mental, its dreamlike, poetic and even horrific variations. Sasha Waltz carries us off into a world of visual illusion, where we meet centaurs, tentacular creatures and warriors with disproportionate braids. However, the choreographer also develops an anatomically phantasmagorical world, where movement is based on improbable articulation, unknown orifices and wonderful connections. From this corporeal circus she suddenly makes paradise and hell surge forth; it must be said that the piece draws its origins from an instruction for the inauguration of the Jewish Museum in Berlin. In this show, Sasha Waltz draws a living metaphor of the world, including marvels and catastrophes, but in a sumptuous aesthetic and a dramatic tension of rare intensity with a grandiose set design that uses all the magic of the theatre.
A message from Brigitte Lefevre
Körper is, without doubt, one of Sasha Waltz’s masterpieces. This ballet left its mark on the imagination of the audience and its performers as of its creation.
It is wonderful to be able to present a piece twenty years on. The quality of this piece works with time, gives rise to new interpretations and continues to touch new generations of spectators.
The choreographer
After dance training in Amsterdam and New York, Sasha Waltz founded the company Sasha Waltz & Guests, which she set up in the Sophiensaele in 1996. In 1999, she became a member of the artistic direction of the Schaubühne am Lehniner Platz Berlin until 2004. It was in this framework that she created the trilogy: Körper, S, noBody.
Today, Sasha Waltz is the creator of some twenty choreographical works and productions, including a Romeo and Juliet created in 2007 for the Paris Opera Ballet on the request of Brigitte Lefèvre. Her company is now independent. Her next creation, rauschen, will be presented at the Volksbühne Berlin in March 2019. In parallel to her work as the artistic director for her company, Sasha Waltz will, with Johannes Öhman, take on the co-direction of the Berlin State Ballet for 2019/20.
Distribution
Costume : Bernd Skodzig
Lighting : Valentin Gallé, Martin Hauk
Repetition : Juan Kruz Diaz de Garaio Esnaola
Assistant Director : Francesca Noia
Technical Director : Reinhard Wizisla
Assistant Technical Director : Leonardo Bucalossi
Assistant Lighting : Olaf Danilsen
Technicians plateau : Daniel Herrmann et Salvatore Guiseppe Judica
Sound : Lutz Nerger
Accessories : Brad Hwang
Direction Costumes : Jasmi Lepore
Dresser : Manja Beneke
Make up, hairdressing : Stefanie Kinzel
Broadcasting officer : Karsten Liske
Administration : Stephan Schmidt
Executive management : Sasha Waltz, Jochen Sandig et Bärbel Kern
Legals mentions
Production Schaubühne am Lehniner Platz Berlin
Coproduction Théâtre de la Ville, Paris
Sasha Waltz & Guests is supported by le Sénat de la Culture, l’Europe and Hauptstadtkulturfonds.
Sunday
8 december 2019
18h • Duration : 1h30
Palais des Festivals
from 10 € to 46€
from 14 years
LES
Carnets
du festival
- Article ·
Amala dianor
The Falling Stardust
Creation 2019 – First in région – 9 performers
Choreography : Amala Dianor
Performers : Thomas Demay, Lucie Dubois, Baptiste Lenoir, Charlotte Louvel, Manuel Molino, Keyla Ramos, Yukie Spruijt, Jeanne Stuart, Elena Thomas
Concept : Clément Debras
Lighting : Xavier Lazarini
Music : Awir Léon
Generale direction : Nicolas Tallec
Assistant choreographer : Rindra Rasoaveloson
Amala Dianor mixes balletic leaps, hip-hop and modern dance in order to venture beyond the aesthetics of each of these disciplines.
Presentation
“The governing principle of my creative work is mainly based on the method of redirecting a dance technique” explains the choreographer Amala Dianor.
This time, he is targeting classic dance. The Falling Stardust crosses the floor-based world of hip-hop and the aerial figures of the classic étoiles, the meeting of which produces this famous “stardust”. Ballet and hip-hop have always been viewed with respect, sharing the same taste for work and virtuosity, its inevitable figures and its coded language. However, what distinguishes them remains this relationship with the earth or sky, i.e. elevation or, conversely, the horizon for a movement. The Falling Stardust reunites seven female and two male dancers, four mixed dancers and five classic dancers from various different countries and just as many schools or conservatories and of course varying techniques, for an excellent routine in which each shines as brightly as a thousand stars. Together, they launch an assault on unknown galaxies in the choreographic universe, to define dance as a free art. His flexible and expert approach to movement reveals on stage a humanity that is inventing and constructing itself.
A message from Brigitte Lefèvre
I discovered Amala Dianor as a dancer, before appreciating his skill as a choreographer of astute expression. I am always gripped by his taste for research and his inspiration from the alchemy of various dance techniques that stems from his personal choreographical experience.
The choreographer
After a spell as a hip-hop dancer, in 2000 Amala Dianor trained at the Ecole Supérieure for Modern Dance at the Centre National de Danse Contemporaine [National modern dance centre] in Angers (CNDC). He then worked as a performer for choreographers from very different worlds. Over the years, Amala developed his own style: he glides from one technique to another with virtuosity, but it is the meeting of these worlds that calls to him. He founded his own company in 2012 and The Falling Stardust is his eighth creation.
Legals mentions
Coproduction : Théâtre de la Ville de Paris, La Villette, POLE-SUD CDCN Strasbourg, CNDC d’Angers, CCN Nantes, Maison de la danse de Lyon, Festival Montpellier danse 19, Viadanse-CCNBFC de Belfort, scène conventionnée Scènes de pays dans les Mauges, Centre Chorégraphique National de Créteil et du Val-de-Marne / Compagnie Käfig direction Mourad Merzouki dans le cadre de l’Accueil Studio, l’Espace 1789 de Saint-Ouen, scène conventionnée pour la danse, CCM de Limoges scène conventionnée danse, L’Onde théâtre centre d’art.
Avec le soutien de la Caisse des dépôts et consignations, la Région Pays de la Loire, la Ville d’Angers.
La compagnie Amala Dianor est conventionnée par la Drac Pays de la Loire, soutenue par la Ville d’Angers et la Région Pays de la Loire.
Sunday
15 december 2019
15h • Duration : 1h00
Théâtre Croisette
from 10€ to 22€
From 10 years old
Festival
Journal
- Article ·
Shared programs
Cie Humaine - Eric Oberdorff /
Raphaël Cottin & Jean Guizerix
Mon Corps Palimpseste
Creation 2017 – First in region – 2 dancers and 1 musician
Concept and choreography : Eric Oberdorff
Dancers : Cécile Robin Prévallée, Luc Bénard
Musician : Delphine Barbut
Music : Anthony Rouchier aka A.P.P.A.R.T
Stage design : Aurélie Mathigot
Costumes : Aurélie Mathigot, Éric Oberdorff
Lighting : Arnaud Viala
At the edge of dance and the plastic arts, with its set design in the form of an installation, Mon corps palimpseste explores the effects of memory on the body.
Présentation
A palimpsest, from the Greek palimpsēstos, “rubbed smooth again”, was originally a parchment that had been already used, and that had seen the text effaced so it could be reused. It is therefore a forgotten memory, written into the skin itself, in successive layers, that bears the trace of earlier accounts. With the show Mon corps palimpseste, the choreographer closes a cycle entitled TRACES, a work based on memory, souvenirs and their impact on the body. The dancers, who see the movements write themselves on their bodies then disappear, replaced by other gestures, other routines over time, are at the outpost to understanding and analysing this memorial inscription between conscious and subconscious.
Three performers, the dancers Cécile Robin Prévallée and Luc Bénard and musician Delphine Barbut, transcribe in space this quest for the forgotten gesture, for what remains when everything is forgotten. This memory woven in every fibre of our being is symbolized by the thin strips of multicoloured fabric that fetter or link, that bury or imprison just like a spiderweb imagined by the plastic artist Aurélie Mathigot. A sort of retrospective on an internal journey, Mon Corps Palimpseste catches swift moments on the fly to scrutinize them more fully.
A message from Brigitte Lefevre
Eric Oberdorff started as a dancer trained by Rosella Hightower, before becoming the modern choreographer we know and a rigorous, generous director who is also attentive to the works of others. This is how he naturally orchestrates the Studiotrade platform that we programme as part of the Festival.
The choreographer
Eric Oberdorff started practicing martial arts at a very young age and continued while studying dance at the Regional National Conservatoire in Nice and at the Cannes Rosella Hightower international dance school. He then joined the Paris Opera dance school. Transiting via the Salzburg and Zurich ballets, he joined the Monte-Carlo Ballet and danced the world over. Since 2002, Eric has been the director and choreographer of the Compagnie Humaine that he founded. He is an artist assisted by the CDN Nice Côte d’Azur/Irina Brook. Since 2017, he has also been the choreographer and director of the NESEVEN Ensemble (Germany). In 2010, he co-founded the European Studiotrade network and since 2015 he has been responsible for programming the Studiotrade Platform within the Cannes Dance Festival.
Legals mentions
Production déléguée : Compagnie Humaine
Coproduction : KLAP Maison pour la danse à Marseille
Mécénat : Fondation Fluxum, Genève
Apport en industrie : CDCN I Le Pacifique, GrenobleRésidences : avec le soutien de KLAP Maison pour la danse à Marseille (résidence de nalisation 2017) / CDCN I Le Pacifique, Grenoble / Conservatoire à Rayonnement Régional de Nice / Villa Arson, Nice
La Compagnie Humaine est une compagnie chorégraphique subventionnée par le Ministère de la Culture et de la Communication/DRAC PACA, la Région Provence-Alpes-Côte d’Azur, la Ville de Nice, la Ville de Cannes, le Département des Alpes-Maritimes, soutenue pour ses projets internationaux par l’Institut français et la Région Provence-Alpes-Côte d’Azur, en résidence au Conservatoire à Rayonnement Régional de Nice, membre fondateur du réseau européen Studiotrade. Éric Oberdorff est artiste accompagné du Centre Dramatique National Nice Côte d’Azur.
Thursday
12 december 2019
20h30 • Duration : 1h
Scène 55
from 10 € to 24€
+ free entry to the show
Cie Humaine at 20h30
from 6 years old
LES
Carnets
du festival
- Article ·
KUBILAI KHAN INVESTIGATIONS
Something is wrong
Creation 2019 – 4 dancers and 4 musicians
Choreography : Frank Micheletti
Performers : Patricia Hastewell, Idio Chichava, Maria de Duenas Lopez, Esse Vanderbruggen
Live music : Frank Micheletti, Benoît Bottex, Sheik Anorak et Jean-Loup Faurat
Costumes : Julia Didier
Lighting design : Ivan Mathis
Sound direction : Laurent Saussol
A show with a pessimistic title that display a padded optimism in the body. A choreographical climate of emergency that profiles an anxious future in order to better offset this.
Presentation
“I hope I’m wrong. But the science points to my not being wrong. I think we’re fucked” was one of the quotes from Stephen Emmott (Ten Billion), which inspired Frank Micheletti in Bien sûr, les choses tournent mal, a dystopia presumed to take place in 2393. Something is wrong is the second part of this diptych that looks into the various transformations that are acting on our present and will give its name to the ensemble. On the stage, the same team, comprising four dancers and as many musicians, including Frank Micheletti, composes a divided work that undeniably offers a point of view on the world, our world, with its upheavals and its flaws. A team of artists from Mexico, Mozambique and Europe create a unique body to bear witness to this. This creation, which from the start takes an interest in climate change, but not just this, reports on the need to take urgent action, but also our inability to react in the face of the – generally negative – stimuli that the media throws at us. In our lifestyles, where everything that happens is recorded, reproduced, projected, and communicated, where our comfort is electrified, oil-driven, sanitized, digitized and recorded with our personal details, where everything is transformed into goods that can be bought and discarded, all this will crumble, that’s certain. But for the time being, we continue to dance on the volcano, with talent when it comes to the group that is Kubilai Khan Investigations.
A message from Brigitte Lefevre
The work of Frank Micheletti and the Kubilai Khan Investigations collective, rich from an archaic past, is however, attentive to our current myths. The choreography follows an intimate and imaginary geography, a real or dreamed minor news item, we don’t know which, that serves as a frame for a composite ensemble where dance and music have the same importance.
The company
Kubilai Khan Investigations: In existence for 20 years and with over 30 creations performed in France and in over 60 countries, Kubilai Khan Investigations and its choreographer, Frank Micheletti, is established as a platform for plural creations, a fabric of artistic dynamics from a local to an international scale. From the coasts of Mozambique to the Bay of Tokyo, gliding from one time zone to another, activating both the crossover nature of artistic language and cultural questions.
Legals mentions
PRODUCTION : Kubilai Khan investigations
COPRODUCTIONS : Théâtre du Beauvaisis – Beauvais, Klap Maison pour la danse – Marseille, Châteauvallon – scène nationale, Pôle Sud – CDCN Strasbourg, Le Pôle Arts de la Scène, Friche la Belle de mai.
En partenariat avec le Forum Jacques Prévert.
Et avec le soutien de la Spedidam
saturday
30 november 2019
20h30 • Duration : 1h
Salle Juliette Gréco (Carros)
from 10€ to 18€
for all
Shuttles for 1€
19h : Departure from Parvis Palais des Festivals (Cannes)
Return at the end of the representation
Reservation before the 21 of november
A la suite du spectacle :
Soirée "Tornada Tropicale"
DJ Yaguara aka Frank Micheletti
Festival
journal
- Article ·
Previous
Next
Noé Soulier
Noé Soulier, a rising figure in modern choreography, explores the poetic incongruity of dance and everyday movements in the company of Vincent Chaillet, Principle dancer with the Paris Opera.
The Kingdom of the Shades
Création 2009 – re-creation 2019 with Vincent Chaillet – First in region
Choreography : Noé Soulier
Performers : Vincent Chaillet, First dancer of Paris National Opéra Ballet
Presentation
The Kingdom of the Shades is the most well-known passage from La Bayadère, the famous ballet by Marius Petipa, but Noé Soulier, a fine connoisseur of classical dance, has chosen to take the expression literally. The Kingdom of the Shades is therefore what can’t be seen at first glance when watching a ballet, namely the link steps, the calls, the preparation, in short, the essential binding that makes dance something more than just a succession of steps. With Vincent Chaillet, the principle dancer at the Paris Opera, who knows his classics on tiptoe, Noé Soulier chose to show us the other side of ballet, allowing these transitions to be seen. The last sequence, bringing together excerpts from the famous ballets of the 19th century, is a jarring collage that comprises a varied and extravagant classic variation.
Signe Blanc
Creation 2012 – re-creation 2019 – First in region
Choreography : Noé Soulier
Performers : Vincent Chaillet, First dancer of Paris National Opéra Ballet
Presentation
In Signe Blanc, Noé Soulier this time tackles pantomime, these bodily gestures that allow a ballet recital to move forward. However, in the Soulier version, Vincent Chaillet starts by expounding the pantomime gestures he makes, then, by shifting, the movements made with the body enter into conflict with those pronounced orally. And the gap progressively widens, until a sequence is formed that borders on abstract movement.
The dancer
Vincent Chaillet has spent his entire career with the Paris Opera Ballet. He was promoted to Lead dancer in 2009. Specifically interested by the scripting for pieces and new works, he put on a show for children combining song, dance and music. In December 2017, he left the Paris Opera temporarily to take on the artistic direction of the Les Synodales Festival, for which he directed the international modern dance competition, taking over from Bruno Bouché. He also danced beside Marie-Agnès Gillot for the show Les Enfoirés 2018: Musique!
Removing
Creation 2015 – First in region – 4 dancers
Choreography : Noé Soulier
Performers : Lucas Bassereau, Yumiko Funaya, Nans Pierson and Noé Soulier
Lighting design : Gilles Gentner
Lighting direction : Victor Burel
Presentation
Lastly, the four dancers from Removing explore a catalogue of gestures and choreographical sequences that are also ours, without us being aware of it: gestures defined by practical aims such as knocking, avoiding, throwing or even throwing yourself to jump or land on the ground. Except…that their purpose is hidden. As a result, the piece frees the movement from all its power and all its intentional charge…
A message from Brigitte Lefevre
It is a pleasure to present pieces during this Festival that have matured and have been reworked by the choreographer. This is the case with Noé Soulier, who has revised two of his creations that tackle the vocabulary of ballet, with Vincent Chaillet, whose elegance, accuracy and musicality I have always admired. Noé Soulier’s approach, which analyses and examines classical dance by providing it with new energy, is of great interest in my opinion.
The choreographer
Born in Paris in 1987, Noé Soulier studied at the Conservatoire National Supérieur for music and dance in Paris, at the Ecole National de Ballet of Canada and at PARTS in Brussels. He obtained a Master’s degree in philosophy from the Sorbonne University. In 2010, he was awarded the first prize in the Danse Élargie competition, organized by the Théâtre de la Ville et le Musée de la Danse. Noé Soulier is an artist associated with the CN D, the national dance centre in Pantin since 2014 and an artist associated with the CDCN Toulouse/Occitanie between 2016 and 2018. In July 2020, he will head the National Center for Contemporary Dance in Angers.
Legals mentions
Le Royaume des Ombres
Production : PARTS ∙ Productions déléguée : ND Productions
Signe Blanc
Production : wpZimmer, Palais de Tokyo∙Production déléguée : ND Productions
Removing
Production déléguée : ND Productions ∙ Coproductions : CN D, Centre national de la danse, Festival d’Automne à Paris, Maison de la danse – Lyon, TAP – Théâtre Auditorium de Poitiers, Musée de la danse – Centre chorégraphique national de Rennes et de Bretagne, PACT Zollverein – Essen, Kaaitheater – Bruxelles, Tanzquartier – Vienna ∙ Et en coproduction avec : le Centre de Développement Chorégraphique Toulouse/Midi- Pyrénées, dans le cadre du réseau « [DNA] Departures and Arrivals », co nancé par le Programme Europe Créative de l’Union Européenne
Avec le soutien de : la Direction régionale des affaires culturelles d’Île-de-France – Ministère de la Culture et de la Communication au titre de l’aide à la structuration
Saturday
30 november 2019
17h • Duration : 1h15
(avec entracte)
Théâtre La Licorne
from 10€ to 14€
from 12 years old
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 ·
