After responding to the commission for the 2009 season of the Suresnes Cités Danse festival, which meant presenting a 30-minute work after 25 days of rehearsal with five non-professional hip-hop dancers, Pierre Rigal decided to pursue this adventure beyond the festival. “Asphalte” is a piece staged for five hip-hop dancers, each specialising in a different technique: Break, Popping, New Style, Liquid and Krumping. Four boys and a girl. Pierre Rigal focuses on these techniques and uses them to direct the dancers towards his own choreographic world. The characters constantly travel around a three-dimensional block of light, a sort of variable and interactive monolith. As they perform in front of this abstract light, the dancers create urban silhouettes which evolve as they pass. They move through absurd situations of violence, humour, war and poetry. They gradually transform, losing their humanity, their organic quality, to become robots. By using a particular posture, choreography or clothing, thanks to the different mobile lights that they display, the silhouettes slowly metaporphose into monstrous and ghostly creatures, disquieting but funny at the same time. The graphic universe is that of a city which might have been created by comics and science fiction, a multi-media and cinematographic world. The calm of this imaginary city is disturbed by an abstract and insidious violence, by a war which does not really give its name. This war is painful, of course, but is also full of humour and joy. It is this which dictates the evolution of the characters, who progressively abandon their humanity and are gradually eaten away from within by mysterious, autonomous living entities. Finally, at the height of the conflicts, commotion and blows, the bodies of the characters are thrown into the air and finish hurled to the ground, inert. On the icy asphalt of this imaginary city.
In this piece, Pierre Rigal is interested in the impact of contexts, environments and cultures on the human body. By linking choreography with graphics, the link between humanity and its organisation becomes the real issue. Pierre Rigal attempts to define what of their true humanity individuals are obliged to abandon progressively in the face of their context. The result is both sad and funny.
Sources : Maison de la Danse programming
Choreography Pierre Rigal Dance performed Compagnie dernière minute
Conception, chorégraphie, lumières Pierre Rigal interprétation Mathieu Hernandez, Hervé Kanda, Yoann Nirennold, Camille Regneault, Julien Saint-Maximin assistante artistique, costumes Mélanie Chartreux constructeur décor, lumières Frédéric Stoll musique Julien Lepreux régie lumières Gisèle Pape Commande et production Théâtre de Suresnes Jean Vilar-Suresnes Cités danse 2009, créée le 10 janvier 2009. Coproduction cie dernière minute, Suresnes Cités danse 2009 et TGP - CDN de Saint-Denis et Le Parvis - scène nationale Tarbes-Pyrénées avec le soutien du Théâtre Garonne à Toulouse, de la DRAC Midi-Pyrénées, de la Région Midi-Pyrénées et la Ville de Toulouse. La compagnie dernière minute reçoit le soutien de la Fondation BNP Paribas pour le développement de ses projets. Réalisation vidéo Charles Picq date du document vidéo 2009 production Maison de la Danse
Durée de l'œuvre 50 min
Born in 1973 in Moissac, France.
Top athlete, specialist in 400m and 400m steeple races, Pierre Rigal obtained a degree in mathematical economics at the university of social sciences of Toulouse, then a bachelor’s degree in cinema at the superior school of audiovisual in Toulouse.
While he was training as a dancer, he met choreographers such as Heddy Maalem, Bernardo Montet, Wim Vandekeybus, Nacera Belaza, Philippe Découflé and stage directors such as Mladen Materic and Guy Alloucherie.
In 2002 he was part of the company Gilles Jobin for the creation of the piece « Under Construction » and the revival of « The Moebius Strip » (2003-2006).
At the same time, he worked as a director for video clips and documentary films, such as Balade à Hué that he directed in 2001 for the french broadcasting channel France 3.
In November 2003, Pierre Rigal founded the company dernière minute, conceived and performed his first play « erection » co-directed with Aurélien Bory at the Théatre National of Toulouse.
In June 2005, he performed for the choreographer Ariry Andriamoratsiresy in the solo « Dans la peau d’un autre » for the program ‘Vif du sujet’ produced by the SACD / Montpellier Danse.
In October 2006 he created the play « arrêts de jeu » with Aurélien Bory at the Théatre National of Toulouse.
In May 2007 he took part in the event « comme un été » at the Théatre National of Toulouse by presenting « La mort est vivante » a photo-photographic installation.
In February 2008, he was commissioned by the London Gate Theatre to create and perform a new solo : « Press » and « At the end » of 2008 he created the solo « Que serai-je serai-je » for the dancer Mélanie Chartreux who won the national competition of ‘Talents Danse Adami’.
In 2009, he created « Asphalte » a hip-hop theatre play for the Festival Suresnes Cités Danse and for the Maison de la Danse of Lyon.
During the 2010 Avignon festival, he presented « Micro » which was then hosted at the Théatre Vidy-Lausane in January 2011 for development and creation of the final version.
In July 2011 he directed the video clip « Give me a light » taken from the show micro.
In February 2012, he created « Standards », a piece for 8 hip-hop dancers for the 20 year anniversary of the Festival Suresnes Cités Danse, the longer version was developed for the Marseille Festival in June 2012. That same year, he created « Théâtre des opérations » a piece for 9 Korean dancers at the LG Arts Center in Seoul. The play then came to Europe at the Festival d’Automne in Normandy and at the Théatre du Rond-Point in Paris.
In 2013, Pierre collaborated with Jean-Michel Ribes for the revival of Théatre sans animaux and Emmanuel Daumas for the play « Anna », by specifically working on the comedians’ movement.
In July 2013 he created « Bataille » for the Avignon Festival, a piece for Hassan Razak and Pierre Cartonnet for the program Sujets à Vif. The full version of this duo was created on the 2nd of December 2013 at the Douai Hippodrome for the festival Les Multipistes.
Concurrently to this Pierre Rigal regularly gives workshops in different institutions, particularly at the Korean National Dance Company of Seoul or at the Vaganova Academy in St Petersburg.
Source: Cie Dernière Minute 's website
More information : pierrerigal.net
Author, filmmaker and video artist Charles Picq (1952-2012) entered working life in the 70s through theatre and photography. A- fter resuming his studies (Maîtrise de Linguistique - Lyon ii, Maîtrise des sciences et Techniques de la Communication - grenoble iii), he then focused on video, first in the field of fine arts at the espace Lyonnais d'art Contemporain (ELAC) and with the group « Frigo », and then in dance.
On creation of the Maison de la Danse in Lyon in 1980, he was asked to undertake a video documentation project that he has continued ever since. During the ‘80s, a decade marked in France by the explosion of contemporary dance and the development of video, he met numerous artists such as andy Degroat, Dominique Bagouet, Carolyn Carlson, régine Chopinot, susanne Linke, Joëlle Bouvier and regis Obadia, Michel Kelemenis. He worked in the creative field with installations and on-stage video, as well as in television with recorded shows, entertainment and documentaries.
His work with Dominique Bagouet (80-90) was a unique encounter. He documents his creativity, assisting with Le Crawl de Lucien and co-directing with his films Tant Mieux, Tant Mieux and 10 anges. in the 90s he became director of video development for the Maison de la Danse and worked, with the support of guy Darmet and his team, in the growing space of theatre video through several initiatives:
- He founded a video library of dance films with free public access. This was a first for France. Continuing the video documentation of theatre performances, he organised their management and storage.
- He promoted the creation of a video-bar and projection room, both dedicated to welcoming school pupils.
- He started «présentations de saisons» in pictures.
- He oversaw the DVD publication of Le tour du monde en 80 danses, a pocket video library produced by the Maison de la Danse for the educational sector.
- He launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created Numeridanse.
His main documentaries are: enchaînement, Planète Bagouet, Montpellier le saut de l'ange, Carolyn Carlson, a woman of many faces, grand ecart, Mama africa, C'est pas facile, Lyon, le pas de deux d'une ville, Le Défilé, Un rêve de cirque.
He has also produced theatre films: Song, Vu d'ici (Carolyn Carlson), Tant Mieux, Tant Mieux, 10 anges, Necesito and So schnell, (Dominique Bagouet), Im bade wannen, Flut and Wandelung (Susanne Linke), Le Cabaret Latin (Karine Saporta), La danse du temps (Régine Chopinot), Nuit Blanche (Abou Lagraa), Le Témoin (Claude Brumachon), Corps est graphique (Käfig), Seule et WMD (Françoise et Dominique Dupuy), La Veillée des abysses (James Thiérrée), Agwa (Mourad Merzouki), Fuenteovejuna (Antonio Gades), Blue Lady revistied (Carolyn Carlson).
Source: Maison de la Danse de Lyon
Artistic direction / Conception : Pierre Rigal
Artistic direction assistance / Conception : Mélanie Chartreux
Choreography : Pierre Rigal
Interpretation : Mathieu Hernandez, Hervé Kanda, Yoann Nirennold, Camille Regneault, Julien Saint-Maximin
Lights : Pierre Rigal, Frédéric Stoll (construction), Gisèle Pape (régie)
Costumes : Mélanie Chartreux
Settings : Frédéric Stoll
Production / Coproduction of the video work : Théâtre de Suresnes Jean Vilar-Suresnes Cités danse 2009, créée le 10 janvier 2009. Coproduction cie dernière minute, Suresnes Cités danse 2009 et TGP - CDN de Saint-Denis et Le Parvis - scène nationale Tarbes-Pyrénées avec le soutien du Théâtre Garonne à Toulouse, de la DRAC Midi-Pyrénées, de la Région Midi-Pyrénées et la Ville de Toulouse. La compagnie dernière minute reçoit le soutien de la Fondation BNP Paribas pour le développement de ses projets.
DANCE AND DIGITAL ARTS
Modern Dance and Its American Roots [1900-1930] From Free Dance to Modern Dance
At the dawn of the 20th century, in a rapidly changing West, a new dance appeared: Modern Dance. In the United States as in Europe, modern trends emerge simultaneously and intertwine in thier development. Let's dive into the beginnings of American modern dance!
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!
[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.
Meeting with literature
Collaboration between a choreographer and a writer can lead to the emergence of a large number of combinations. If sometimes the choreographer creates his dance around the work of an author, the writer can also choose dance as the subject of his text.
Dance and performance
Here is a sample of extracts illustrating burlesque figures in Performances.
On 24th May 1959, Tatsumi Hijikata portrayed the character of the "Man" in the first presentation of a play called Kinjiki (Forbidden Colours).
The Ankoku Butoh was born,
States of the body
Explanation of the term « State of the body » when it’s about dance.
The Dance Biennale
The BNP Paribas Foundation
Maison de la danse
Discovery of improvisation’s specificities in dance.
Focus on the variety of bodies offered by contemporary dance and how to show these bodies: from complete nudity to the body completely hidden or covered.
Female / male
A walk between different conceptions and receptions of genres in different styles and eras of dance.