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EDITION 2012 - MAY 4 TO JUNE 2

TheatersTheatersTheatersTheaters

May 4May 4May 4May 4----5555 MC93, Bobigny

May 9May 9May 9May 9----10 10 10 10

La Dynamo de Banlieues Bleues, Pantin

May 12May 12May 12May 12----13131313 Maison du Théâtre et de la Danse, Épinay-sur-Seine

La Chaufferie, Saint-Denis

May 15May 15May 15May 15----16161616 Le Forum, Blanc-Mesnil

May 19May 19May 19May 19----20202020

Espace 1789, Saint-Ouen

May 22May 22May 22May 22 Espace Michel-Simon, Noisy-le-Grand

May 23May 23May 23May 23----24242424----25252525

Centre national de la danse, Pantin

May 29May 29May 29May 29----30303030----31313131 Le Colombier, Bagnolet

June 1June 1June 1June 1----2222

Nouveau Théâtre, Montreuil

The association Centre international de Bagnolet pour les œuvres chorégraphiques Seine-Saint-Denis was founded at the initiative of the Ville de Bagnolet and the Département de la Seine-Saint-Denis, with the support of the Direction régionale des affaires culturelles d’Ile-de-France – Ministère de la Culture et de la Communication.

PROGRAMPROGRAMPROGRAMPROGRAM

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CREATIONSCREATIONSCREATIONSCREATIONS CATHERINE DIVERRÈS DD DORVILLIER JULIE DOSSAVI MATIJA FERLIN CLARA FUREY / BENOÎT LACHAMBRE EMMANUELLE HUYNH ELLI MEDEIROS / MICKAËL PHELIPPEAU PERRINE VALLI AURELIE GANDIT (Solo)

THE CHOREOGRAPHERS

ARTISTS INVITEDARTISTS INVITEDARTISTS INVITEDARTISTS INVITED

SIMONE AUGHTERLONY

AURELIE GANDIT (Duo)

PAUL-ANDRÉ FORTIER

AN KALER

FRANK MICHELETTI

JANET NOVÁS

LIAT WAYSBORT

MARJANA KRAJAĆ

TÂNIA CARVALHO

JAN MARTENS

IRIS EREZ

LISBETH GRUWEZ

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CALENDAR

LA CHAUFFERIELA CHAUFFERIELA CHAUFFERIELA CHAUFFERIE SAINT-DENIS

LE FORUMLE FORUMLE FORUMLE FORUM BLANC-MESNIL

May, Saturday 12May, Saturday 12May, Saturday 12May, Saturday 12 17:00 An Kaler, An Kaler, An Kaler, An Kaler, Insignificant Others (learning to look sideways) Insignificant Others (learning to look sideways) Insignificant Others (learning to look sideways) Insignificant Others (learning to look sideways) (60 min) Lisbeth Gruwez, Lisbeth Gruwez, Lisbeth Gruwez, Lisbeth Gruwez, It’s going to get worse and worse and worse, my friend. It’s going to get worse and worse and worse, my friend. It’s going to get worse and worse and worse, my friend. It’s going to get worse and worse and worse, my friend. (45 min) May, Sunday 13May, Sunday 13May, Sunday 13May, Sunday 13 18:00 An Kaler, An Kaler, An Kaler, An Kaler, Insignificant Others (learning to look sideways) Insignificant Others (learning to look sideways) Insignificant Others (learning to look sideways) Insignificant Others (learning to look sideways) (60 min) Lisbeth Gruwez, Lisbeth Gruwez, Lisbeth Gruwez, Lisbeth Gruwez, It’s going to get worse and worse and worse, my friend. It’s going to get worse and worse and worse, my friend. It’s going to get worse and worse and worse, my friend. It’s going to get worse and worse and worse, my friend. (45 min)

May, Tuesday 15, Wednesday 16May, Tuesday 15, Wednesday 16May, Tuesday 15, Wednesday 16May, Tuesday 15, Wednesday 16 19:30 Hall Betsy Jolas Elli Medeiros / Mickaël Phelippeau, Elli Medeiros / Mickaël Phelippeau, Elli Medeiros / Mickaël Phelippeau, Elli Medeiros / Mickaël Phelippeau, SueñosSueñosSueñosSueños (60 min) CREATION 21:00 Hall Barbara DD Dorvillier, DD Dorvillier, DD Dorvillier, DD Dorvillier, Danza Permanente Danza Permanente Danza Permanente Danza Permanente (60 min) CREATION

MC 93MC 93MC 93MC 93 BOBIGNY

May, Friday 4, Saturday 5May, Friday 4, Saturday 5May, Friday 4, Saturday 5May, Friday 4, Saturday 5 19:30 Hall Christian Bourgois Perrine Valli, Perrine Valli, Perrine Valli, Perrine Valli, Si dans cette chambre un ami attend…Si dans cette chambre un ami attend…Si dans cette chambre un ami attend…Si dans cette chambre un ami attend… (60 min) CREATION 21:00 Salle Oleg Efremov Emmanuelle Huynh, Emmanuelle Huynh, Emmanuelle Huynh, Emmanuelle Huynh, Augures Augures Augures Augures (60 min) CREATION

MAISON MAISON MAISON MAISON DUDUDUDU THÉÂTRE THÉÂTRE THÉÂTRE THÉÂTRE ETETETET DEDEDEDE LALALALA DANSE DANSE DANSE DANSE

ÉPINAY-SUR-SEINE

May, Saturday 12May, Saturday 12May, Saturday 12May, Saturday 12 20:30 Julie Dossavi, Julie Dossavi, Julie Dossavi, Julie Dossavi, Cross & Share Cross & Share Cross & Share Cross & Share (60 min) CREATION

May, Sunday 13May, Sunday 13May, Sunday 13May, Sunday 13 16:00 Julie Dossavi, Julie Dossavi, Julie Dossavi, Julie Dossavi, Cross & ShareCross & ShareCross & ShareCross & Share (60 min) CREATION

LA DYNAMO DE LA DYNAMO DE LA DYNAMO DE LA DYNAMO DE BANLIEUES BLEUESBANLIEUES BLEUESBANLIEUES BLEUESBANLIEUES BLEUES

PANTIN

May, Wednesday 9, Thursday 10May, Wednesday 9, Thursday 10May, Wednesday 9, Thursday 10May, Wednesday 9, Thursday 10 20:30 Aurélie Gandit, Aurélie Gandit, Aurélie Gandit, Aurélie Gandit, Histoires de peinturesHistoires de peinturesHistoires de peinturesHistoires de peintures (30 min) CREATION + La Variété française est un monstre gluantLa Variété française est un monstre gluantLa Variété française est un monstre gluantLa Variété française est un monstre gluant (60 min)

ESPACE 1789ESPACE 1789ESPACE 1789ESPACE 1789 SAINT-OUEN

May, Saturday 19May, Saturday 19May, Saturday 19May, Saturday 19 17:30 Patricia Brignone, Patricia Brignone, Patricia Brignone, Patricia Brignone, La Danse à l’heure de la performance La Danse à l’heure de la performance La Danse à l’heure de la performance La Danse à l’heure de la performance (90 min) CONFÉRENCE 19:30 PaulPaulPaulPaul----André Fortier, André Fortier, André Fortier, André Fortier, Bras de plomb Bras de plomb Bras de plomb Bras de plomb (60 min) 21:00 Tânia Carvalho, Tânia Carvalho, Tânia Carvalho, Tânia Carvalho, 27 os (27 bones)27 os (27 bones)27 os (27 bones)27 os (27 bones) (50 min)

May, Sunday 20May, Sunday 20May, Sunday 20May, Sunday 20 16:30 PaulPaulPaulPaul----André Fortier, André Fortier, André Fortier, André Fortier, Bras de plomb Bras de plomb Bras de plomb Bras de plomb (60 min) 18h:00 Tânia Carvalho, Tânia Carvalho, Tânia Carvalho, Tânia Carvalho, 27 os (27 bones)27 os (27 bones)27 os (27 bones)27 os (27 bones) (50 min)

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CALENDAR

CENTRE CENTRE CENTRE CENTRE NATIONALNATIONALNATIONALNATIONAL DEDEDEDE LALALALA DANSEDANSEDANSEDANSE

PANTIN

LE COLOMBIERLE COLOMBIERLE COLOMBIERLE COLOMBIER BAGNOLET

NOUVEAU THÉÂTRENOUVEAU THÉÂTRENOUVEAU THÉÂTRENOUVEAU THÉÂTRE MONTREUIL

May, Tuesday 29, Wednesday 30, Thursday 31May, Tuesday 29, Wednesday 30, Thursday 31May, Tuesday 29, Wednesday 30, Thursday 31May, Tuesday 29, Wednesday 30, Thursday 31 20:00 Marjana KrajaMarjana KrajaMarjana KrajaMarjana Krajać, , , , Short Fantasy about Reclaiming the Ownership over my Short Fantasy about Reclaiming the Ownership over my Short Fantasy about Reclaiming the Ownership over my Short Fantasy about Reclaiming the Ownership over my Own Body Own Body Own Body Own Body (25 min) Iris ErezIris ErezIris ErezIris Erez, Temporary , Temporary , Temporary , Temporary (17 min) Janet Novás, Janet Novás, Janet Novás, Janet Novás, Cara Pintada Cara Pintada Cara Pintada Cara Pintada (53 min)

June, Friday 1, Saturday 2June, Friday 1, Saturday 2June, Friday 1, Saturday 2June, Friday 1, Saturday 2 19:00 Hall Maria Casarès Simone Aughterlony, Simone Aughterlony, Simone Aughterlony, Simone Aughterlony, We need to talk We need to talk We need to talk We need to talk (75 min) 21:00 Hall Jean-Pierre Vernant Liat Waysbort Liat Waysbort Liat Waysbort Liat Waysbort Male Version Male Version Male Version Male Version (22 min) Jan Martens Jan Martens Jan Martens Jan Martens A small guide on how to treat you lifetime companionA small guide on how to treat you lifetime companionA small guide on how to treat you lifetime companionA small guide on how to treat you lifetime companion (30 min) Clara Furey / Benoît Lachambre, Clara Furey / Benoît Lachambre, Clara Furey / Benoît Lachambre, Clara Furey / Benoît Lachambre, Chutes Incandescentes Chutes Incandescentes Chutes Incandescentes Chutes Incandescentes (60 min) CREATION

May, Wednesday 23, Thursday 24, Friday 25May, Wednesday 23, Thursday 24, Friday 25May, Wednesday 23, Thursday 24, Friday 25May, Wednesday 23, Thursday 24, Friday 25 19:00 Studio 3 Matija Ferlin, Matija Ferlin, Matija Ferlin, Matija Ferlin, SAD SAM LuckySAD SAM LuckySAD SAM LuckySAD SAM Lucky (60 min) CREATION 20:30 Grand Studio Catherine Diverrès, SCatherine Diverrès, SCatherine Diverrès, SCatherine Diverrès, Stance IItance IItance IItance II (25 min) + O Senseï… O Senseï… O Senseï… O Senseï… (34 min) CREATION

ESPACE MICHELESPACE MICHELESPACE MICHELESPACE MICHEL----SIMONSIMONSIMONSIMON NOISY-LE-GRAND

May, Tuesday 22May, Tuesday 22May, Tuesday 22May, Tuesday 22 20:30 Frank Micheletti, Frank Micheletti, Frank Micheletti, Frank Micheletti, Tiger Tiger Burning Bright Tiger Tiger Burning Bright Tiger Tiger Burning Bright Tiger Tiger Burning Bright (60 min)

Shuttles from Paris will be available to the public for performances in Blanc-Mesnil, Épinay-sur-Seine, Noisy-le-Grand and Saint-Denis and for transfers between Saint-Denis and Épinay-sur-Seine .

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MC93, Bobigny (hall Christian Bourgois)

May, Friday 4 - May, Saturday 5 - 19:30

PERRINE VALLI PERRINE VALLI PERRINE VALLI PERRINE VALLI (Switzerland/ France) Si dans cette chambre un ami attend...Si dans cette chambre un ami attend...Si dans cette chambre un ami attend...Si dans cette chambre un ami attend... 60 min. solo CREATION Conception and choreographyConception and choreographyConception and choreographyConception and choreography Perrine Valli Interpretation Interpretation Interpretation Interpretation Perrine Valli Sound Sound Sound Sound Eric Linder Lights Lights Lights Lights Laurent Schaer Scenography and costumes Scenography and costumes Scenography and costumes Scenography and costumes Thibault Vancraenenbroeck Drawing inspiration from the feminine figure of Emily Dickinson, If in that room a friend await… uses the bedroom as a metaphor of identity and intimacy. The play centers around what this special place shelters: from love to tears, from sexuality to introspection, from dreams to nightmares and real or metaphorical mourning. Perrine Valli takes us through an imaginary journey of the mind, marked by mystery and ambiguity. ProductionProductionProductionProduction・・・・Compagnie Sam-Hester Coproduction Coproduction Coproduction Coproduction ・ADC / Geneve, Rencontres chorégraphiques internationales de Seine-Saint-Denis SupportSupportSupportSupport・・・・Ville de Genève, Loterie romande genèvoise, Pro Helvetia PartnersPartnersPartnersPartners・・・・Micadanses / Paris, Berlin Tanz Wagt Perrine ValliPerrine ValliPerrine ValliPerrine Valli was born in Aix en Provence in 1980. She studied ballet and contemporary dance at the Conservatory of Aix en Provence. She continued her education at the Hallet Eghayan School, at the same time studying Arts at the University of Lyon. A year later, she was accepted at the National Conservatory of Lyon and in 2001, she entered the CDC (Choreographic Development Center) of Toulouse. After that, she obtained a scholarship to join the London Contemporary Dance School, where she graduated in 2002. After her graduation, she went to America for three months, doing workshops on improvisation with Julyen Hamilton, Nancy Stark Smith, Kirstie Simson, Daniel Lepkoff, Olivier Besson and Andrew de L.Hardwood. Back in Europe, she went to Switzerland to work with Estelle Heritier at the Arsenic Theatre, on a piece called A5. She also did a project entitled Temps Morts with the Collective de la Dernière Tangente at the Theatre of Vidy in Lausanne and at the National Theatre of Sénart in Paris. She than met the choreographer Cindy Van Acker with whom she worked on several projects: Corps 00:00 at the Biennale of Venezia and Teatro Comandini in Cesena (directed by Roméo Castelluci) , Pneuma and Puits with Vincent Barras and Jacques Demierre. She has also performed in Van Acker’s last creation Kernel, showed at the Grütli theatre of Geneva, with the musician Mika Vainio, Pan Sonic. In 2005, she started her own company called Association Sam-Hester. Her first piece Ma cabane au Canada played at the Usine Theatre in Geneva and at Mains d’Oeuvres, in Paris. In april 2006, she obtained a three year residence at Mains d’Oeuvres in Paris where she created her second piece called Série. This piece wins the first prize at the Masdanza international choreography contest in Spain, and is also chosen for the Swiss platform Tanz > Faktor>Interregio 2008. Perrine Valli presents a third piece Je pense comme une fille enlève sa robe in January 2009, at the festival Faits d'Hiver in Paris and at the theatre l'Usine in Geneva. She receives a research stipendium from Cultures France "Hors les murs" which will take place in Japan in 2009. In may, she has been rewarded with the second prize of the Premio contest in Zurich. At the moment she works on a new piece called Je ne vois pas la femme cachée dans la forêt (« I don't see the woman hidden in the forest »).

© Akatre

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MC93, Bobigny (hall Oleg Efremov)

May, Friday 4 - May, Saturday 5 - 21:00

EMMANUELLE HUYNH EMMANUELLE HUYNH EMMANUELLE HUYNH EMMANUELLE HUYNH (France) AuguresAuguresAuguresAugures 60 min. 7 interpreters CREATION Conception et choreography Conception et choreography Conception et choreography Conception et choreography Emmanuelle Huynh Artistic collaborator Artistic collaborator Artistic collaborator Artistic collaborator Pascal Queneau Interpretation nterpretation nterpretation nterpretation Nuno Bizarro, Talia De Vries, Yoann Demichelis, Corinne Garcia, Fragan Gelkher, Christophe Ives, Betty Tchomanga Interpreters associated to the work Interpreters associated to the work Interpreters associated to the work Interpreters associated to the work Madeleine Fournier, Johann Nohles, Marie Orts, Aline Landreau Scenography and costumes Scenography and costumes Scenography and costumes Scenography and costumes Nadia Lauro Lights Lights Lights Lights Yannick Fouassier Sound Sound Sound Sound Olivier Renouf Advisor Advisor Advisor Advisor Alexandre Del Perugia Costumes production Costumes production Costumes production Costumes production Michele Amet A variation channeling the perpetual tensions affecting an individual’s destiny, Emmanuelle Huynh’s new work takes on the myth of the uniqueness of the being. She bases her piece on the constantly evolving, repeating changes affecting the individual from childhood to adulthood, the different faces appearing and disappearing in succession, the resonantly mobile moments of our existence. Accentuated by the rhythm of an unending fall, the performance space becomes a character in its own right, a special point of contact for the seven dancers experiencing mass solitude. ProductionProductionProductionProduction・Centre national de danse contemporaine Angers CoproductionCoproductionCoproductionCoproduction・Rencontres chorégraphiques internationales de Seine-Saint-Denis

© Marc Domage

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AURELIE GANDIT AURELIE GANDIT AURELIE GANDIT AURELIE GANDIT (France) Histoires de PeinturesHistoires de PeinturesHistoires de PeinturesHistoires de Peintures 30 min. solo CREATION Conception et choreographyConception et choreographyConception et choreographyConception et choreography Aurélie Gandit DanceDanceDanceDance Aurélie Gandit Sound accompaniment Sound accompaniment Sound accompaniment Sound accompaniment Yvain Von Stebut AdvisorAdvisorAdvisorAdvisor Marie Cambois Histoires de peintures is a choreographic interpretation of art historian Daniel Arasse’s work. By associating recorded voices and dancing, this solo seeks to embody the exhilarating texts of a man who “with joy shared an artist’s approach to art history” and to arouse the audience’s desire to look at paintings in a new way. This solo is based on an excerpt from the book Histoires de peintures (Ed. Denoel) which brings together a written transcription of 25 radio programs recorded by Daniel Arasse for Radio France Culture during the summer of 2003. CoproductionCoproductionCoproductionCoproduction・・・・Rencontres chorégraphiques internationales de Seine-Saint-Denis, Compagnie La Brèche - Aurelie Gandit Accueil studioAccueil studioAccueil studioAccueil studio・・・・Centre chorégraphique national du Havre SupportSupportSupportSupport・・・・CCN-Ballet de Lorraine et Arsenal de Metz - EPCC Metz en scènes Financial partnerFinancial partnerFinancial partnerFinancial partner・・・・Conseil regional de Lorraine - Aide a la creation Project initiated as part of Transform / Royaumont Foundation in collaboration with Noëlle Simonet

AURELIE GANDIT AURELIE GANDIT AURELIE GANDIT AURELIE GANDIT (France) La variété française est un monstre gluantLa variété française est un monstre gluantLa variété française est un monstre gluantLa variété française est un monstre gluant 60 min. duo

Conception Conception Conception Conception Aurelie Gandit et Matthieu Remy Dance Dance Dance Dance Aurelie Gandit Reading Reading Reading Reading Galaad le Goaster Text Text Text Text Matthieu Remy Advisor Advisor Advisor Advisor Perrine Maurin Choreographic glance Choreographic glance Choreographic glance Choreographic glance Marie Cambois Musical hacks Musical hacks Musical hacks Musical hacks Yvain Von Stebut Light Light Light Light Thomas Brouchier Costumes Costumes Costumes Costumes Eleonore Daniaud

Dedicated to French popular music from the 60’s onwards, from Serge Gainsbourg to Michel Sardou, this danced conference investigates its fascinating, exalting and sometimes appalling facets. Matthieu Remy’s words analyse the stylistic devices and the demagogic or terribly philosophical rhetoric of these popular tunes. Galaad Le Goaster’s reading accompanies the danced movements performed by Aurelie Gandit. And vice-versa. Coproduction Coproduction Coproduction Coproduction ・l’acb - Scène nationale de Bar-le-Duc, Compagnie La Brèche-Aurelie Gandit Partners Partners Partners Partners ・Conseil régional de Lorraine - Aide a la création, Ville de Nancy - Aide a la création, ADDAM 54 Support Support Support Support ・CCN - Ballet de Lorraine

LA DYNAMO DE BANLIEUES BLEUES, Pantin May, Wednesday 9 - May, Thursday 10 - 20:30

© Julien Demengel

© Aurélie Gandit

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MAISON DU THÉÂTRE DE LA DANSE, Épinay-sur-Seine May, Saturday 12 - 20:30

May, Sunday 13 - 16:00

JULIE DOSSAVI JULIE DOSSAVI JULIE DOSSAVI JULIE DOSSAVI (France) Cross & ShareCross & ShareCross & ShareCross & Share 60 min. 3 interpreters CREATION Conception Conception Conception Conception Julie Dossavi Shared choregraphy Shared choregraphy Shared choregraphy Shared choregraphy Julie Dossavi, Hamid Ben Mahi, Serge-Aime Coulibaly, Thomas Lebrun Direction Direction Direction Direction Julie Dossavi et Michel Schweizer Dramaturgy et scenography Dramaturgy et scenography Dramaturgy et scenography Dramaturgy et scenography Michel Schweizer Interpretation dance Interpretation dance Interpretation dance Interpretation dance Julie Dossavi Interpretation vocals Interpretation vocals Interpretation vocals Interpretation vocals Moira Interpretation piano and musical composition Interpretation piano and musical composition Interpretation piano and musical composition Interpretation piano and musical composition Olivier Oliver Texts Texts Texts Texts Michel Schweizer Light Light Light Light Ivan Mathis Costumes Costumes Costumes Costumes Julie Dossavi Cross & Share delves into the idea of the solo dance “as being many on the stage” by utilizing artistic collaborations around a principle of shared creation. It gives Julie Dossavi the opportunity to open her work up to new spaces, confronting new artistic universes. After composing and interpreting solos and having asked the choregrapher Daniel Larrieu to write a solo for her in 2004 (still actively performed), Julie Dossavi explores a third path, that of co-composition, co-writing with two authors, choregraphers, musicians, and a director: Thomas Lebrun, Serge-Aimé Coulibaly, Hamid Ben Mahi and Michel Schweizer. This question of dialogues, of exchanges of universes, of languages, of visions is constantly present in Julie Dossavi’s oeuvre. Production Production Production Production ・Compagnie Julie Dossavi Coproduction Coproduction Coproduction Coproduction ・Rencontres chorégraphiques internationales de Seine-Saint-Denis, Les Treize Arches / Nouveau Theatre de Brive, Compagnie Hors Serie, Centre chorégraphique national de la Rochelle - Poitou-Charentes, Kader Attou - Compagnie Accroprap et CNCDC Chateauvallon - accueil studio SupportSupportSupportSupport・les Ballets C de la B, Gand, Belgique, Maison des 3 Quartiers, Centre de Beaulieu et Espace Mendes France, Poitiers, Centre national de la danse, Pantin, Centre chorégraphique national de Tours, Maison du Theatre et de la Danse d’Epinay-sur-Seine La compagnie Julie Dossavi est subventionnée par le Ministère de la Culture et de la Communication / Drac Poitou-Charentes au titre de l’aide a la compagnie, la Région Poitou-Charentes et le Département de la Vienne par qui elle est conventionnée. Julie Dossavi est artiste en partage au Centre chorégraphique national de La Rochelle.

© Grégory Brandel

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AN AN AN AN KALERKALERKALERKALER (Austria) Insignificant Others (learning to look sideways) Insignificant Others (learning to look sideways) Insignificant Others (learning to look sideways) Insignificant Others (learning to look sideways) 60 min. trio Conception Conception Conception Conception An Kaler Interpretation Interpretation Interpretation Interpretation Alex Baczynski-Jenkins, An Kaler, Antonija Livingstone Lights Lights Lights Lights Bruno Pocheron Scenography Scenography Scenography Scenography Stephanie Rauch Music and sound Music and sound Music and sound Music and sound Brendan Dougherty DramaturgyDramaturgyDramaturgyDramaturgy Heike Albrecht Insignificant Others is part of a longterm physical and creative practice An Kaler develops in exchange with different artists. Extending the previous study on notions of the still (image) in movement the upcoming edition – (learning to look sideways) – adresses the processes of the performers co-operating in modes of conducting, structuring and shifting a shared topography of physical presence and absence. Harboured in that which is deemed unaffirmative pure potential is what is performed. Production Production Production Production · An Kaler, e.V. c/o das Schaufenster, Vienne Coproduction Coproduction Coproduction Coproduction · Tanzquartier Wien, Tanzfabrik Berlin, Tanztage Berlin Support Support Support Support · Wien Kultur / Département de la culture de Vienne, Forum culturel autrichien, Advancing performing arts project et Turbo Residence Impulstanz

LA CHAUFFERIE, Saint-Denis May, Saturday 12 - 17:00

May, Sunday 13 - 18:00

© Eva Würdinger

LISBETH GRUWEZ LISBETH GRUWEZ LISBETH GRUWEZ LISBETH GRUWEZ (Belgium) It’s going to get worse and worse and worse, my friend. It’s going to get worse and worse and worse, my friend. It’s going to get worse and worse and worse, my friend. It’s going to get worse and worse and worse, my friend. 45 min. solo Conception, dance et choreography Conception, dance et choreography Conception, dance et choreography Conception, dance et choreography Lisbeth Gruwez Composition, sound designer and assistant Composition, sound designer and assistant Composition, sound designer and assistant Composition, sound designer and assistant Maarten Van Cauwenberghe Costumes Costumes Costumes Costumes Véronique Branquinho Advisor Advisor Advisor Advisor Bart Meuleman Lights Lights Lights Lights Harry Cole, Caroline Mathieu A speech can be a mighty weapon. Throughout the centuries it has enthused countless masses and galvanized them into action, for better or for worse. It has unleashed revo-lutions and fueled wars. Just by the power of words. But a speech does not only en-thuse the hearers, often it also transposes the speaker into a state of trance. Then he loses himself in a stream of words, in an obsessive, ecstatic way of speaking. The po-wer of a speech often depends on the trance of the speaker. In It’s going to get worse and worse and worse, my friend Lisbeth Gruwez dances the trance of that ecstatic speechifying. In the process, she takes advantage of fragments from a speech by the ultraconservative American televangelist Jimmy Swaggart. Initially the parlance is frien-dly and pacifying, but from his compulsive desire to persuade transpires growing des-pair. Eventually it exposes its deepest nature: violence. ProductionProductionProductionProduction・・・・Voetvolk vzw CoproductionCoproductionCoproductionCoproduction・・・・Grand Theater Groningen, Troubleyn / Jan Fabre, Theater Im Pumpenhaus DiffusionDiffusionDiffusionDiffusion・・・・Key Performance SupportSupportSupportSupport・・・・Provincie West-Vlaanderen, Vlaamse Gemeenschap

© Luc Depreitere

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LE FORUM, Blanc-Mesnil (hall Betsy Jolas) May, Tuesday 15 - May, Wednesday 16 - 19:30

ELLI MEDEIROS ET MICKAËL PHELIPPEAU ELLI MEDEIROS ET MICKAËL PHELIPPEAU ELLI MEDEIROS ET MICKAËL PHELIPPEAU ELLI MEDEIROS ET MICKAËL PHELIPPEAU (France) SueñosSueñosSueñosSueños 60 min. duo CREATION Conception and interpretation Conception and interpretation Conception and interpretation Conception and interpretation Elli Medeiros, Mickaël Phelippeau Sound Sound Sound Sound Éric Yvelin Lights Lights Lights Lights Érik Houiller Assistants Assistants Assistants Assistants Pascale Paoli, Valérie Castan Sueños is a two-headed choreographic self-portrait created by Elli Medeiros and Mickaël Phelippeau. Before they met, all they knew about each other was that he loved her song Toi mon toit, and that she loved his photographic series of “bi-portraits”. When they met in 2008 to create the bi-portrait Elli M., he discovered a prolific artist. In 2011, he invited her to collaborate on a joint choreographic project. She accepted, suggesting the title: Sueños (“Dreams”...in Spanish because he likes the sound of Elli’s mother tongue) to “shape and stage each others dreams”... the dreams you dream, and the dreams you have. Production Production Production Production · bi-p association Coproduction Coproduction Coproduction Coproduction · Rencontres chorégraphiques internationales de Seine-Saint-Denis, Le Quartz, Brest, Scène nationale d’Orléans Support for the creation Support for the creation Support for the creation Support for the creation · Région Centre Support Support Support Support · La Ferme du Buisson, Marne-la-Vallée, Ménagerie de Verre, dans le cadre des Studiolab, Paris, Laboratoires d’Aubervilliers, Théâtre de Gennevilliers - Centre dramatique national de création contemporaine, Collector Lille 2011, dans le cadre du projet Code de Nuit © Cécile Paris Residence Residence Residence Residence · Emmetrop / Bourges ElliElliElliElli MedeirosMedeirosMedeirosMedeiros, singer, songwriter, actress, designer and director, born in Montevideo (Uruguay) lives and works between France, Argentina and Uruguay. MickaëlMickaëlMickaëlMickaël PhelippeauPhelippeauPhelippeauPhelippeau, dance and visual artist born in Nantes, lives and works in France. He is an associate artist atLe Quartz - scène nationale de Brest.

Rencontres chorégraphiques 2011 Number of objects

© Pascale Paoli

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LE FORUM, Blanc-Mesnil (hall Barbara)

May, Tuesday 15 - May, Wednesday 16 - 21:00

DD DD DD DD DORVILLIERDORVILLIERDORVILLIERDORVILLIER / / / / HUMANE FUTURE DANCE CORPSHUMANE FUTURE DANCE CORPSHUMANE FUTURE DANCE CORPSHUMANE FUTURE DANCE CORPS (USA) Danza PermanenteDanza PermanenteDanza PermanenteDanza Permanente 60 min. 4 interpreters CREATION Choreography and concept Choreography and concept Choreography and concept Choreography and concept DD Dorvillier Sound design and musical direction Sound design and musical direction Sound design and musical direction Sound design and musical direction Zeena Parkins Interpretation Interpretation Interpretation Interpretation Fabian Barba, Nuno Bizarro, Walter Dundervill, Naiara Mendioroz Artistic assistant Artistic assistant Artistic assistant Artistic assistant Heather Kravas Lights Lights Lights Lights Thomas Dunn The choreography of Danza Permanente comes from a musical composition created in Vienna two centuries ago by a deaf man. Initially written for four stringed instruments, the score is transposed into movement for four dancers. They embody the musical structure, behaviors, and dynamics of the string quartet over time, and through space. The dancers behave as sound, in their becoming of visible music in silence. ProductionProductionProductionProduction・・・・Human future dance corps CoproductionCoproductionCoproductionCoproduction・・・・Rencontres chorégraphiques internationales de Seine-Saint-Denis, The Kitchen, New York, Etats-Unis, STUK Kunstencentrum, Leven, Belgique, Centre national de danse contemporaine, Angers, PACT Zollverein, Essen, Allemagne SupportSupportSupportSupport・・・・MAP Fund avec l’aide de la Doris Duke Charitable Foundation et de la Andrew W. Mellon Foundation, French-US Exchange in Dance, National Dance Project / New England Foundation for the Arts, Services culturels de l’Ambassade de France a New-York, French America, Cultural Exchange soutenu par la Doris Duke Charitable Foundation et la Florence Gould Foundation, Bourse de recherche chorégraphique de la John Simon Guggenheim Memorial Foundation ResidenceResidenceResidenceResidence・・・・STUK, PACT, Performing Art Forum, CNDC Angers, Menagerie de Verre dans le cadre des Studiolab DD Dorvillier DD Dorvillier DD Dorvillier DD Dorvillier is a choreographer and performer from New York. Through her company, human future dance corps, she has produced many works, presenting them in the US, Europe, Asia, and Latin America. She has also taught worldwide in state and private institutions, festivals, and schools. She has worked with David Bergé in different capacities including the creation of a collaborative the photo-installation Half a Train (2007). Her work Choreography, a Prologue for the Apocalypse of Understanding, Get Ready! was presented in Belgium most recently at Kaai Theater, and deSingel. Recent collaborative projects include: The Blanket Dance (2011) with Frédéric Gies and Jefta van Dinther, Pièce Sans Paroles (2010) with Anne Juren and Annie Dorsen, RMW(a) & RMW (2004) with Jennifer Monson, and Anarchive #2:secondhand (2010) with Deuffert/Plishke. In 2003 she received a Bessie for her quartet Dressed for Floating and in 2010 for her performance in Parades & Changes, replays, a re-activation of Anna Halprin’s seminal Parades & Changes (1965), directed by French choreographer Anne Collod. Dorvillier maintains on-going artistic partnerships with Composer Zeena Parkins and Lighting Designer Thomas Dunn. She has worked with many artists including: Sarah Michelson, Jennifer Lacey, Yvonne Meier, Heather Kravas, Elizabeth Ward, Jonathan Bepler, and Karen Finley, among others. She has been awarded with fellowships from the New York Foundation for the Arts (2000), the Foundation for Contemporary Arts (2007), and the Guggenheim Foundation (2011). Her upcoming project, Danza Permanente, will permiere at STUK in Leuven in May 2012.

Rencontres chorégraphiques 2010 Pièces sans paroles, in collaboration with Anne Juren and Annie Dorsen.

© Zeena Parkins

13

ESPACE 1789, Saint-Ouen May, Saturday 19 - 19:30 May, Sunday 20 - 16:30

PAULPAULPAULPAUL----ANDRÉ FORTIER ANDRÉ FORTIER ANDRÉ FORTIER ANDRÉ FORTIER (Canada, Quebec) Bras de plombBras de plombBras de plombBras de plomb 50 min. solo Choreography Choreography Choreography Choreography Paul-André Fortier Interpretation Interpretation Interpretation Interpretation Simon Courchel Set design and accessories Set design and accessories Set design and accessories Set design and accessories Betty Goodwin Original music Original music Original music Original music Gaetan Leboeuf Lights Lights Lights Lights jpt CostumesCostumesCostumesCostumes Carmen Alie and Denis Lavoie from an original concept by Betty Goodwin Direction of the repetitions and assistantDirection of the repetitions and assistantDirection of the repetitions and assistantDirection of the repetitions and assistant choreographer choreographer choreographer choreographer Ginelle Chagnon The solo piece Bras de plomb originated from an inspired encounter between dancer-choreographer Paul-André Fortier and visual artist Betty Goodwin in 1993. From these two artists’ obsession for the human body emerged this fascinating work. Paul-André Fortier has chosen to hand over this work to dancer Simon Courchel, who will perform with the technical maturity, stamina and charisma this outstanding piece requires. The arms, at first free and fluid, gradually become imprisoned and movement then shifts to the legs. The dance proceeds in a plodding manner, contrasting with the lead casing, opening the door to a beautiful and unique experience. SupportSupportSupportSupport・・・・Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Conseil des arts de Montréal, Emploi Québec Fortier Danse-Création is an active member of Circuit-Est centre chorégraphique. PaulPaulPaulPaul----André Fortier André Fortier André Fortier André Fortier founded his company in 1979. His highly theatrical and rigorous style of choreography comments on the modern world and has had a significant impact on his peers and a whole new generation of choreographers. His creative work is recognized on an international level and is distinguished by its search for renewal and a desire to surpass itself. Fortier describes himself as “a man who dances” and constantly challenges himself to meet the highest of artistic standards.

© Robert Etcheverry

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ESPACE 1789, Saint-Ouen May, Saturday 19 - 21:00 May, Sunday 20 - 18:00

TÂNIA CARVALHO TÂNIA CARVALHO TÂNIA CARVALHO TÂNIA CARVALHO (Portugal) 27 OS [27 BONES] 27 OS [27 BONES] 27 OS [27 BONES] 27 OS [27 BONES] 60 min. 3 interpreters and 1 pianist CREATION Direction, choreography Direction, choreography Direction, choreography Direction, choreography Tânia Carvalho Toy piano Toy piano Toy piano Toy piano Joana Gama Interpretation Interpretation Interpretation Interpretation Luis Guerra, Luís Antunes, Sandra Rosado Music Music Music Music Diogo Alvim Costumes Costumes Costumes Costumes Aleksandar Protic Characterization Characterization Characterization Characterization Tânia Carvalho Lights Lights Lights Lights Zeca Iglésias Being on stage puts forward a complex situation in between pleasure and fear. Fear of not being accepted, or understood. Fear of failure. In a sense it represents our life and the way we live. We are constantly trying to find some sort of balance between being what we want to be and being accepted by others. “Fear” lives within us, it forces us to sway and move. These are sublime movements, nevertheless thought through and planned to the last detail, containing a strong and complex emotional charge. A dance piece composed with the help of abstract movements which are then destroyed by a strange presence, something akin to the figuration of fear. Fear of failure. ProductionProductionProductionProduction・・・・Bomba Suicida CoproductionCoproductionCoproductionCoproduction・・・・Teatro Viriato, Viseu, Cine Taetro Joaquim D’Almeida, Montijo ResidenceResidenceResidenceResidence・・・・O Espaco do Tempo, Montemor-o-Novo, Cine Teatro S. Pedro, Alcanena and Teatro Viriato, Viseu SupportSupportSupportSupport・・・・Alkantara, Balletshop, Lisbonne ThanksThanksThanksThanks・・・・Margarida Dias Bomba suicide is funded by the Government of Portugal - Secretary of State for Culture Tânia Carvalho Tânia Carvalho Tânia Carvalho Tânia Carvalho was born in 1976, Portugal. Started classical dance with five years old. In 1991 attended the first year of Superior Dance School (Lisbon, Portugal). Attended the two years course of Contemporary Dance for interpreters in Forum Dança (Lisbon). In 2005 attended the Choreography Course in the creativity and artistic program supported by Calouste Gulbenkian Foundation (Lisbon, Portugal). As a dancer worked with Francisco Camacho, Carlota Lagido, David Miguel, Filipe Viegas and Vera Mantero. Also worked as an actress with Projecto Teatral and participated in some video projects.

© Tânia Carvalho

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ESPACE MICHEL-SIMON, Noisy-le-Grand May, Tuesday 22 - 20:30

FRANK FRANK FRANK FRANK MICHELETTIMICHELETTIMICHELETTIMICHELETTI (France) Tiger Tiger Burning Bright…Tiger Tiger Burning Bright…Tiger Tiger Burning Bright…Tiger Tiger Burning Bright… 60 min. 6 interpreters Conception and choreoraphy Conception and choreoraphy Conception and choreoraphy Conception and choreoraphy Frank Micheletti InterpretationInterpretationInterpretationInterpretation Viktoria Andersson, Idio Chichava, Ikue Nakagawa, Péter Juhasz, Csaba Varga, Livia Bazalova Lights Lights Lights Lights Ivan Mathis From this constant acceleration as it is experienced in towns, the phenomena linked to dynamism will be explored: fluidity, new social relationships, multiple stimulations and to test their limits: tension, agitation, disturbance, pressure… Facing the changes engendered by the accelerations, the movements, the mutations of society, how do we position and find ourselves and each other? How can these new ways of existence be shared while respecting one’s intimate and collective desires, those that gradually appearing in the construction of a renewal of the way of living? ProductionProductionProductionProduction・・・・Kubilai Khan Investigations CoproductionCoproductionCoproductionCoproduction・・・・Réseau Escales danse en Val d’Oise, CNCDC Châteauvallon, Le Manège - Scène nationale de Maubeuge, Macon scène nationale, Association Beaumarchais-SACD, SupportSupportSupportSupport・・・・Ballet national de Marseille dans le cadre de l’accueil studio ResidenceResidenceResidenceResidence・・・・Réseau Escales danse en Val d’Oise (Espace Germinal, Fosses, L’Apostrophe - Scène nationale de Cergy, Theatre Paul Eluard, Bezons), CNCDC Châteauvallon, Ballet national de Marseille Kubilai Khan Investigations est conventionnée par le Ministère de la Culture et de la Communication / DRAC Provence-Alpes-Côte d’Azur, subventionnée par la Région Provence-Alpes-Côte d’Azur, le Conseil général du Var et la Ville de Toulon. Elle reçoit le soutien de l’Institut français pour ses projets a l’étranger.

© Laurent Thurin Nal

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CENTRE NATIONAL DE LA DANSE, Pantin (studio 3) May, Wednesday 23 - May, Thursday 24 - May, Friday 25 - 19:00

MATIJA FERLIN MATIJA FERLIN MATIJA FERLIN MATIJA FERLIN (Croatia) SAD SAM LuckySAD SAM LuckySAD SAM LuckySAD SAM Lucky 60 min. solo CREATION Choreography and interpretationChoreography and interpretationChoreography and interpretationChoreography and interpretation Matija Ferlin DramaturgyDramaturgyDramaturgyDramaturgy Goran Ferčec TextTextTextText Srečko Kosovel MusicMusicMusicMusic Luka Prinčić ScenographyScenographyScenographyScenography Mauricio Ferlin LightsLightsLightsLights Saša Fistrić CostumesCostumesCostumesCostumes Matija Ferlin GraphicsGraphicsGraphicsGraphicsTina Ivezić VisuelVisuelVisuelVisuel Christophe Chemin Photo Photo Photo Photo Danko Stjepanović AssistantAssistantAssistantAssistant Ana Kovačević SAD SAM Lucky s’inscrit dans une série de pièces ayant vu le jour à Amsterdam en 2004, et s’appuie sur le travail du poète slovène Srećko Kosovel, empreint d’ironie, de profondeur, et d’un sentiment de tragédie qui inspirent le chorégraphe au point qu’il les transforme en manifeste corporel. ProductionProductionProductionProduction Rencontres chorégraphiques internationales de Seine-Saint-Denis, Centre national de la danse CoproductionCoproductionCoproductionCoproduction Zagreb dance center, Emanat OrganizationOrganizationOrganizationOrganization Emanat Partners Partners Partners Partners Festival de danse et théâtre non verbal - San Vincenti SupportSupportSupportSupport Ministère de la Culture de la République de Slovénie, La municipalité - ville de Ljubljana, La municipalité - ville de Pula.

© Mauricio Ferlin

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CENTRE NATIONAL DE LA DANSE, Pantin (Grand Studio)

May, Wednesday 23 - May, Thursday 24 - May, Friday 25 - 20:30

CATHERINE DIVERRÈS CATHERINE DIVERRÈS CATHERINE DIVERRÈS CATHERINE DIVERRÈS (France) Ô Sensei…Ô Sensei…Ô Sensei…Ô Sensei… 34 min. solo CREATION Choreography et interpretationChoreography et interpretationChoreography et interpretationChoreography et interpretation Catherine Diverrès ScenicScenicScenicScenic andandandand artistic collaboration artistic collaboration artistic collaboration artistic collaboration Laurent Peduzzi LightsLightsLightsLights Marie Christine Soma CostumesCostumesCostumesCostumes Cidalia da Costa MusicsMusicsMusicsMusics Keiji Haino, Seijiro Murayama, Frédéric Chopin, Ingrid Caven,, J S BACH « Ohno’s art is so unique that in the language of Butoh itself, he is Butoh, a sort of hyphen between the worlds of the living and the dead. My experience with Ohno was a deep, radical revolution, involving my entire being. I took my entire choreographic vocabulary and language, accumulated over so many years –and chose to start over, tabula rasa. » Catherine Diverrès Production Production Production Production Compagnie Catherine Diverrès / Association d’octobre CoproductionCoproductionCoproductionCoproduction le CDC – Les Hivernales, le Centre national de la danse - Pantin, les Rencontres chorégraphiques internationales de Seine-Saint-Denis, le Musée de la danse / Centre chorégraphique national de Rennes et de Bretagne, le Centre chorégraphique national de Caen / Basse-Normandie dans le cadre de l'accueil-studio. ThanksThanksThanksThanks Collectif Rennes Métropole Stance II Stance II Stance II Stance II 25 min. solo ChoreographyChoreographyChoreographyChoreography Catherine Diverrès InterpretationInterpretationInterpretationInterpretation Carole Gomes LightsLightsLightsLights Marie-Christine Soma Assistée de Pierre Gaillardot CostumesCostumesCostumesCostumes Cidalia da Costa PoemPoemPoemPoem La Terra di Lavoro de et dit par Pier Paolo Pasolini MusicMusicMusicMusic Eiji Nakazawa In Stance II, a lone female figure in a long dress, stands silhouetted against a background of golden light. While Pier Paola Pasolini’s La Terra di lavoro plays into the void, she moves with her shadow to create a graceful and courageous response to the sad words of the song. Stance II was influenced by Diverrès’ time spent with Kazuo Ohno, a seminal practitioner of the post-war Japanese dance form, Butoh, and echoes the beauty and grace of classical Chinese and Japanese paintings. « In her solo, Catherine Diverres unfolds time. Her presence and her gestures open up abstract spaces, ineffable and intangible ». Irene Filiberti Command of the 9ème Biennale nationale de danse du Val-de-Marne. CoproductionCoproductionCoproductionCoproduction Centre chorégraphique national de Rennes et de Bretagne, Le Théâtre Romain Rolland, Villejuif, La Biennale nationale de danse du Val-de-Marne, La Ville de Villejuif, Le Théâtre National de Bretagne, Rennes. Aide à la créationAide à la créationAide à la créationAide à la création Conseil Général du Val-de-Marne Catherine Diverrès Catherine Diverrès Catherine Diverrès Catherine Diverrès made her mark in the 1980s when, turning her back on the dominant concepts of American postmodern dance and her classical training, she developed her own choreographic language and style. Dominated by striking visuals and poetic gestures, her work is provocative and profound.

Rencontres chorégraphiques 2007 Blowin’

© Kourit Masson Sékiné

© Tristan Valès

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LE COLOMBIER, Bagnolet May, Tuesday 29 - May, Wednesday 30 - May, Thursday 31 - 20:00

IRIS EREZ IRIS EREZ IRIS EREZ IRIS EREZ (Israel) Temporary Temporary Temporary Temporary 17 min. solo ChoreographyChoreographyChoreographyChoreography Iris Erez InterpretationInterpretationInterpretationInterpretation Maya Weinberg MusicMusicMusicMusic Hanayo, Vanessa Paradis Music publishing Music publishing Music publishing Music publishing Jeremy Berenheim, Yaniv Mintzer Production Production Production Production Sharon Aloni Lights Lights Lights Lights Tamar Orr A dancer in her own space, trying to capture time through the paradox of destruction and production her body holds. Mundane clothes become metaphorical references ranging from body parts to memories, and raising questions about femininity, performance, exposure, and our ability to say something meaningful.

© Bart Grietens

MARJANA MARJANA MARJANA MARJANA KRAJAKRAJAKRAJAKRAJAĆ (Croatia) Short Fantasy about Reclaiming the Ownership over my Own BodyShort Fantasy about Reclaiming the Ownership over my Own BodyShort Fantasy about Reclaiming the Ownership over my Own BodyShort Fantasy about Reclaiming the Ownership over my Own Body 25 min. solo Conception et interpretation Conception et interpretation Conception et interpretation Conception et interpretation Marjana Krajac Dramaturgy Dramaturgy Dramaturgy Dramaturgy Marko Kostanic Lights Lights Lights Lights Bojan Gagic GraphicsGraphicsGraphicsGraphics Valentina Toth « My body is not owned by me. However essential my embodiment may be for my own existence, I am not the owner of my body. My body is repressed by protocols, architecture, space structures, other bodies, at times my body is also repressed by it’s very self. If I am not the owner of it then that means that I am sharing it with some other instances, that some other instances too claim and execute the right to use my body: to navigate it, to count on it, to take my body into the responsibility. » Marjana Krajač Realisation, production, partnersRealisation, production, partnersRealisation, production, partnersRealisation, production, partners・・・・Croatian Institute for Movement and Dance, Zagreb Dance Center, Danceweek Festival, Teatro Viriato Viseu Portugal, RE.AL Lisbon, W-Est_Where Programme, Ministry of Culture of Republic Croatia and City Office for Culture Zagreb, Sodaberg, Tanzfabrik Berlin. ThanksThanksThanksThanks・・・・Joao Fiadeiro, Una Bauer et libela.org Marjana KrajaMarjana KrajaMarjana KrajaMarjana Krajač is choreographer, author and dancer. She graduated from State School for Contemporary Dance “Ana Maletić” in Zagreb, Academy of Performing Arts in Berlin and has also studied theology and religion science at Humboldt Universität zu Berlin. She worked with Grupe Dunes in Marseille, collaborated with Mårten Spångberg and Meg Stuart in projects Choreographers’ Venture - The Adventure and Everyday Heroes/Extern Sources. She is a past recipient of the DanceWEB scholarship and Mobile Academy Berlin scholarship with master classes of Chen Shi Zheng, Jossi Wieler and Ulrike Haage where she specializes in opera material research. In 2009 her project THE STORE was nominated for T-HT Award of the Museum of Contemporary Art in Zagreb. Author of 11 full-evening works, her choreographic work reaches to limitless formats always stretching the notion of what choreographic practice, as well as what art as such, can and dare to propose as aesthetic and cultural statement. She worked for and with numerous regional and internationals venues and festivals, and in 2008 her choreographic work „Ariadne on Naxos“ was selected for Enhanced danceWEB Europe Contemporary Dance Coproduction Programme, Vienna. She lives and works between Berlin and Zagreb where she developed collaborative Sodaberg.

© Sodaberg

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LE COLOMBIER, Bagnolet May, Tuesday 29 - May, Wednesday 30 - May, Thursday 31 - 20:00

JANET JANET JANET JANET NOVNOVNOVNOVÁÁÁÁSSSS (Spain) Cara PintadaCara PintadaCara PintadaCara Pintada 53 min. solo ConceptConceptConceptConcept Janet Novás InterpretationInterpretationInterpretationInterpretation Janet Novás AssistantAssistantAssistantAssistant Ricardo Santana Original musicOriginal musicOriginal musicOriginal music Haru Mori CostumesCostumesCostumesCostumes Juana Rodríguez LightsLightsLightsLights Pedro Fresneda, Antón Ferreiro PhotosPhotosPhotosPhotos Piti Prieto, Juan Adrio Video Video Video Video Tía Mardalina Janet Novás is on the stage, on her own. Then, she gradually surrounds herself with a world she builds up, her world. She recalls all her souvenirs and calls for her future, she sets the present time, hangs empty frames on the wall, a gallery of different mysterious characters that is full of promises. When the show is over, Janet is not alone any more as she has made us join her through transmitting her strength, her emotion, her energy. We now belong to her family, we are now part of the galleries she has installed. Never again will she be out of frame… CollaborationCollaborationCollaborationCollaboration・・・・Provisional Danza, Madrid, Centro Cultural Garcia Lorca, Bruxelles

© Piti Prieto

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SIMONE AUGHTERLONY SIMONE AUGHTERLONY SIMONE AUGHTERLONY SIMONE AUGHTERLONY (Switzerland) We need to talkWe need to talkWe need to talkWe need to talk 70 min. solo (subtitles) Conception et interpretation Conception et interpretation Conception et interpretation Conception et interpretation Simone Aughterlony. DramaturgyDramaturgyDramaturgyDramaturgy Jorge León. Musical directionMusical directionMusical directionMusical direction Marcel Blatti. MusicMusicMusicMusic Sounds of Earth, Golden Record compiled by Nasa in 1977. LightsLightsLightsLights Ursula Degen. GraphicsGraphicsGraphicsGraphics Bringolf Irion Vögeli, David Bühler, Natalie Bringolf, Aline Dallo, Kristin Irion, Zurich « If we want to continue beyond the next 100 years our future is in outer space. » Stephen Hawking In We need to talk, Simone Aughterlony endeavours to marry the last 33 years of the Voyager spacecrafts journey through space and time with her own existence and scant travels. She peers up with Voyagers onboard passenger: the Golden Record and it’s selection of sounds, images and music designed to encapsulate life on planet Earth and destined for any extraterrestrial civilization that may encounter it. Simone becomes embroiled in some kind of improbable dialogue whereby biographical details, anecdotal dances and thoughts on a possible future collide with the record’s eclectic compilation. ProductionProductionProductionProduction Verein für allgemeines Wohl. CoproductionCoproductionCoproductionCoproduction Theaterhaus Gessnerallee Zürich, Dampfzentrale Bern. Support Support Support Support Stadt Zürich Kultur, Fachstelle Kultur Kanton Zürich, Pro Helvetia Schweizer Kulturstiftung. Simone Aughterlony Simone Aughterlony Simone Aughterlony Simone Aughterlony (1977) graduated from the New Zealand School of Dance in 1995. Since moving to Europe she has been involved with various artists in the roles of both performer/deviser and as a choreographer. She joined Meg Stuart/Damaged Goods in 2000 and worked on the productions of Highway 101 and Alibi among others. She has choreographed for theatre productions in Schauspielhaus Zürich, Volksbühne Berlin and Burg Theatre Wien under the direction of Falk Richter, Stephan Pucher and Niklaus Helbling. Simone first began the production of her own performance work in 2003 with the presentation of her solo Public Property. Her subsequent works Performers on Trial and the group work Bare Back Lying have toured extensively in Europe. She collaborated with the video artist Meika Dresenkamp to create Between Amateurs in 2006. Upon invitation from SPIELART Münich, Simone created the duet Tonic which was presented upon recommendation of Tim Etchells in the frame of What’s Next? in November 2007. The group work The Best and the Worst of Us premiered in February 2008 and toured Europe as did the recent collaborative work with Isabelle Schad Sweet dreams are made. Most recently, Simone collaborated with filmmaker Jorge Leon on the project To serve, a trilogy on the subject of domestic servitude that premiered at Kunsten Festival Brussels in May 2010.

Rencontres chorégraphiques 2007 Performers on Trial 2009 The Best and the Worst of Us

NOUVEAU THÉÂTRE, Montreuil (hall Maria Casarès)

June, Friday 1, June, Saturday 2 - 19:00

© Jorge Leon

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NOUVEAU THÉÂTRE, Montreuil (hall Jean-Pierre Vernant) June, Friday 1, June, Saturday 2 - 21:00

Jan Martens Jan Martens Jan Martens Jan Martens (Belgium / Netherlands) A small guide on how to treat you lifetime companionA small guide on how to treat you lifetime companionA small guide on how to treat you lifetime companionA small guide on how to treat you lifetime companion 30 min. duo Concept Concept Concept Concept Jan Martens Performance Performance Performance Performance Jan Martens, Steefka Zijlstra Costumes Costumes Costumes Costumes Olivier Waelkens Repeater Repeater Repeater Repeater Peter Seynaeve A small guide on how to treat your lifetime companion is a wordless moving image, an intimate performance on a small surface. It is a couple dance in the most literal sense of the word: without leaving each other’s sides, Jan Martens and Steefka Zijlstra show five key moments in a relationship. With A small guide on how to treat your lifetime companion Jan Martens creates a piece about love, a tender and intimate performance both comforting and confronting.

ProductionProductionProductionProduction・・・・Frascati

ThanksThanksThanksThanks・・・・United-C, Productiehuis Brabant, kc nOna and STUK Leuven Jan Martens Jan Martens Jan Martens Jan Martens (1984) was born in Belgium and received his dance training at the Royal Conservatory for Dance at the Artesis Academy in Antwerp. And also at the Fontys Dance Academy in Tilburg. As a dancer Jan Martens was featured in works by a.o. Koen de Preter, United-C and Ann Van den Broek. Since 2009 he has been developing his own pieces as well. Instead of focusing on dansante virtuosity or complex choreography Jan centers his work around the ugliness and beauty of everyman.

© Stephane Van Hesteren

LIAT LIAT LIAT LIAT WAYSBORTWAYSBORTWAYSBORTWAYSBORT (Netherlands / Israel) Male VersionMale VersionMale VersionMale Version 22 min. duo ChoreographyChoreographyChoreographyChoreography Liat Waysbort InterpretationInterpretationInterpretationInterpretation Maarten Hunink et Martjn Kappers MusicMusicMusicMusic Rage against the Machine, Dean Martin, Elvis Presley LightsLightsLightsLights Remko van Wely CostumesCostumesCostumesCostumes Liat Waysbort DramaturgyDramaturgyDramaturgyDramaturgy Peggy Olislaegers The tragic elements in the life of Elvis Presley has intrigued Liat Waysbort and inspired her to take a closer look into the male universe. Dansateliers invited her to explore her fascination and research how manhood relates to physical expression, rock and roll and hip movements. In Male Version Liat Waysbort challenges our traditional views of masculinity, as it is reinforced by nowadays popular culture. Male Version was created in collaboration with two dancers of the Conny Janssen Danst company. ProductionProductionProductionProduction Dansateliers CoproductionCoproductionCoproductionCoproduction Conny Janssen Danst Choreographer and dancer Liat Waysbort Liat Waysbort Liat Waysbort Liat Waysbort has gradually realised that her identity is inextricably linked to her roots - an identity that is clearly formed by the specific history of Israel, where she was born and raised. Waysbort’s roots play an ever-increasing role in her performances. She is fascinated by memories: how our bodies retain them, their emotional impact. Memories that Waysbort calls up and translates to the present. Her work is warm and powerfully emotional, but not sentimental. Liat Waysbort was born in 1974 in Tel Aviv where she began her dance training. She danced with the Bat-Sheva Ensemble and the Bat-Sheva Dance Company. She moved to the Netherlands in 2000 and studied choreography at Rotterdam Codarts. Besides working as dancer and choreographer, Waysbort teaches at the Amsterdam School for the Arts.

© Pepijn Lutgerink

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NOUVEAU THÉÂTRE, Montreuil (hall Jean-Pierre Vernant) June, Friday 1, June, Saturday 2 - 21:00

CLARA FUREY / BENOÎT LACHAMBRE CLARA FUREY / BENOÎT LACHAMBRE CLARA FUREY / BENOÎT LACHAMBRE CLARA FUREY / BENOÎT LACHAMBRE (Canada, Quebec) Chutes incandescentes 60 min. duo CREATION Concept et choreography Concept et choreography Concept et choreography Concept et choreography Benoît Lachambre Music ans musical direction Music ans musical direction Music ans musical direction Music ans musical direction Clara Furey Interpretation Interpretation Interpretation Interpretation Benoît Lachambre et Clara Furey Texts Texts Texts Texts Jellalludin Rûmi, in english, Benoît Lachambre, in french, inspired by Mahâbhârata, and Clara Furey, Nobody Knows and Black Crown Lumières Lumières Lumières Lumières Lucie Bazzo Scénographie Scénographie Scénographie Scénographie Benoît Lachambre avec la collaboration d’Annick La Bissonnière Création des accessoires Création des accessoires Création des accessoires Création des accessoires Alain Jenkins Regard extérieur Regard extérieur Regard extérieur Regard extérieur Céline Bonnier Choreographer-dancer Benoît Lachambre and autor-compositor-performer Clara Furey share a common dream and combine their talents in a solo for two body unclassifiable and passionate. Inspire by Rumi’s poem and text from Mahâbhârata, they invite us to face up to the incandescent falling of Ravana the demon, through a dream where Ravana’s phobias are mixed with semi-god Rama’s disguised interventions, those of the beautiful Sita and Hanuman – Monkey God warrior. Voices embrace piano riveted to bodies that become instruments of darkness and light. ProductionProductionProductionProduction・・・・Par B.L.eux, Montreal CoproductionCoproductionCoproductionCoproduction・・・・Festival TransAmeriques, Montréal, Rencontres chorégraphiques internationales de Seine-Saint-Denis, Agora de la Danse, Montréal Financial supportFinancial supportFinancial supportFinancial support・・・・Conseil des arts du Canada, Conseil des arts et des lettres du Québec, Ministère des affaires étrangeres du Canada, Conseil des arts de Montréal Special thanksSpecial thanksSpecial thanksSpecial thanks・・・・Théâtre de Quat’Sous, Montréal, Ong Keng Sen pour le solo « … Comme un chat assis au bord d’un océan de lait, espérant le lécher au complet », créé avec et pour Benoît Lachambre et qui a servi a la mise en chantier de ce travail Benoît Lachambre Benoît Lachambre Benoît Lachambre Benoît Lachambre is a Montréal-based choreographer, dancer, improviser, teacher and artistic director of his own company Par B.L.eux founded in 1996. Benoît has been a part of the international dance community for the past thirty years. He began his career in jazz and modern dance with companies as Les ballets-Jazz de Montréal, Pointépiénu and Toronto Dance Theater before he moved to New York and danced and studied with Stéphanie Skura and Nina Martin, among others. Since then he has devoted himself to an exploratory approach of movement and its sources and to seeking authenticity of motion. In his works, Benoît exploresthe dynamics of communication and perception, and elements of the visual and performance arts are inseparable from dance. Par B.L.eux is devoted to contemporary and interdisciplinary choreographic creation, and the close connection to an international network of artists. The company has toured around the world, essentially in Europe, but also in the Americas and Asia.

© Francis Ducharme