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BNETT WASLA

Re-Création du solo Wasla-ce qui relie pour 4 interprètes

BNETT WASLA

Re-Création du solo Wasla-ce qui relie pour 4 interprètes

BNETT WASLA

Complete capture of BNETT WASLA

BNETT WASLA

Since 2010, Héla Fattoumi and Éric Lamoureux have endeavoured to transfer the knowledge of their repertoire to a young generation of dancers.They began revisiting their pieces Husaïs (awarded 1st prize at the 1990 International Choreographic competition in Bagnolet) and Après-midi (Afternoon, awarded the prize for new talent by the SACD in 1991). They had danced these works themselves and would have to reconstruct them archaeologically from their own fragmented memories.

Today, continuing along this path, they are proposing a creation stemming from the solo,Wasla-ce qui relie, created in 1998 for the Dance Biennial in Lyon. This iconic work came about through a creation residency at the National Theatre of Tunis inside the legendary Halfaouine Palace. Working from the original elements, the two choreographers have reinvented a work for four women, dancers in the Tunisian Junior National Ballet. 

By creating BNETT WASLA, Héla Fattoumi and Eric Lamoureux begin a true transcultural and inter generational experience, working on the relationship between the individual and the collective, working with issues linked to female empowerment. From the curved alcove against which the dancers lean their backs, comes a whole syntax of coiled shapes, wrapping and revealing their chrysalid bodies. The dancers slide from one side to the other of a wall, and when they do leave it, the dance seems to surreptitiously step out of a just-erased impression. Awakened from this shelter, the dancers advance, showing a sensual twist, a strangely diaphanous state which transforms their faces, their serpentine hands allowing desire to permeate the most secret of bodies ...

Fattoumi, Héla

Héla Fattoumi and Éric Lamoureux founded the Compagnie FATTOUMI/ LAMOUREUX in 1988. Their first work Husaïs was awarded the prize for best first piece at the Bagnolet International Choreographic Competition in 1990, then their trio Après-midi  received the “New Talents” prize from the SACD in 1991. These two  pieces placed them as leaders of the new generation of contemporary  choreographers and brought them international renown.

A space for research whose source is the intermingling of their individual features.
  From piece to piece, they mine the intrinsic intelligence of the body,  its power to reveal meaning, which can also be thought as a part of  movement.
  Several other important pieces were created in the same vein as Husaïs: Si loin que l’on aille (at the Théâtre de la Bastille and the Théâtre de la Ville, 1992); Fiesta (commissioned by the Avignon Festival, 1992); Asile Poétique (at the Théâtre de la Ville, 2000) based on texts by the poet Antonio Ramos Rosa; Wasla, ce qui relie… (at the Lyon Dance Biennial, 1998); Vita Nova (at the Grande Halle de la Villette, 2000) with the 11th graduating class of the National Center for Circus Arts.
  These pieces show choreographic work linked to the ideas of mastery/  nonmastery, strength/ fragility, minimalism/ performance, a dance whose  expressive weight is charged by a “graphic energy.”

They were appointed directors of the CCN of Caen/  Basse-Normandie in 2004, where they continued their work with pieces  focusing on societal issues.
  These works were La Madâ’a (at the Arsenal in Metz, 2004) with the Joubran brothers, Palestinian virtuosi on the oud; Pièze (a “pressure measurement”) and La danse de Pièze  (at the Festival Dialogue de corps, Ouagadougou, 2006 and the Théâtre  de la Bastille), about the idea of “homosensuality” in the Arab-Muslim  world; Just to dance… (the Espace des Arts in Chalon-sur-Saône, 2010), a piece about the idea of “creolization” developed by Édouard Glissant; MANTA,  a solo created at the Montpellier Festival in 2009 and performed on  tour (Tokyo, Séoul, Berlin, Tunis, Brussels, Stockholm, Oslo), based on  the problem inherent in wearing the niqab; Lost in burqa, (at  the Festival danse d’ailleurs, 2011) a performance for 8 dancers, based  on the “clothing-sculptures” by the Moroccan plastician Majida Khattari;  Masculines (at the Arsenal de Metz, 2013) and on the representations of the feminine on both sides of the Mediterranean.

They are reactivating a choreographic research recharging itself with the expressive and poetic potential of dance.
Une douce imprudence co-signed with Thierry Thieû Niang (at the  Festival Ardanthé 2013, and the Théâtre National de Chaillot, 2014) on  the idea of “Care”; Waves, a commission for the Swedish opera  company NorrlandsOperan and its symphony orchestra, under the auspices  of Umeå 2014, European cultural capital, for which they are associated  with the Swedish singer and composer Peter von Poehl.

They also chose to step outside theatres to work in situ in other reactive contexts.
  In February 2009, they created the performance Stèles as part of a special “Nocturne”, a commission from the Louvre Museum.
  In 2008 they created Promenade at the Grand Palais, imagining a dialogue with the monumental sculptures of Richard Serra.
  In January 2012 they created Circle, inviting the audience into  the center of a circular structure where dance goes wild with the  massed collective energy of 26 professional and amateur dancers.
  In 2013, as part of the Normandy Impressionist Festival they stepped  inside the exhibition “Summer at the water’s edge” at the Beaux-Arts  Museum of Caen for a choreographic Flânerie (wandering).

Creation of the Festival Danse d’Ailleurs (Dance from Elsewhere) (2005)
  Beginning in 2005, they founded the Festival Danse d’Ailleurs whose  vocation is to put back into perspective the idea of universalism while  questioning referent frameworks for modernity in art, relating to  cultural horizons.
  The first four editions focused on artists from the vast, diverse  African continent and brought international recognition to the event,  and the following editions opened as far as Asia, linking with the Hot  Summer Festival in Kyoto, Japan.

Héla Fattoumi and Éric Lamoureux are fully committed to the promotion and the defense of choreographic art.
  From 2001 to 2004, Héla Fattoumi was the dance vice president of the  SACD (Société des Auteurs Compositeurs Dramatiques). She was also in  charge of programming the section called ”Vif du sujet” at the Avignon  Festival.
  From 2006 – 2008, she was the President of the ACCN (Association of the  National Choreographic Centers). From 2010 – 2013 Éric Lamoureux took  over the Presidency; he is now the vice president.
  From 2013 to 2015, Héla Fattoumi has been the president delegated to long-term planning at the SYNDEAC.

In March 2015 Héla Fattoumi and Éric Lamoureux were named  Directors of the Centre chorégraphique national de Franche-Comté in  Belfort, for which they are developing their VIADANSE project.

Lamoureux, Éric

Héla Fattoumi and Éric Lamoureux founded the Compagnie FATTOUMI/ LAMOUREUX in 1988. Their first work Husaïs was awarded the prize for best first piece at the Bagnolet International Choreographic Competition in 1990, then their trio Après-midi  received the “New Talents” prize from the SACD in 1991. These two  pieces placed them as leaders of the new generation of contemporary  choreographers and brought them international renown.

A space for research whose source is the intermingling of their individual features.    From piece to piece, they mine the intrinsic intelligence of the body,  its power to reveal meaning, which can also be thought as a part of  movement.    Several other important pieces were created in the same vein as Husaïs: Si loin que l’on aille (at the Théâtre de la Bastille and the Théâtre de la Ville, 1992); Fiesta (commissioned by the Avignon Festival, 1992); Asile Poétique (at the Théâtre de la Ville, 2000) based on texts by the poet Antonio Ramos Rosa; Wasla, ce qui relie… (at the Lyon Dance Biennial, 1998); Vita Nova (at the Grande Halle de la Villette, 2000) with the 11th graduating class of the National Center for Circus Arts.    These pieces show choreographic work linked to the ideas of mastery/  nonmastery, strength/ fragility, minimalism/ performance, a dance whose  expressive weight is charged by a “graphic energy.”

They were appointed directors of the CCN of Caen/  Basse-Normandie in 2004, where they continued their work with pieces  focusing on societal issues.    These works were La Madâ’a (at the Arsenal in Metz, 2004) with the Joubran brothers, Palestinian virtuosi on the oud; Pièze (a “pressure measurement”) and La danse de Pièze  (at the Festival Dialogue de corps, Ouagadougou, 2006 and the Théâtre  de la Bastille), about the idea of “homosensuality” in the Arab-Muslim  world; Just to dance… (the Espace des Arts in Chalon-sur-Saône, 2010), a piece about the idea of “creolization” developed by Édouard Glissant; MANTA,  a solo created at the Montpellier Festival in 2009 and performed on  tour (Tokyo, Séoul, Berlin, Tunis, Brussels, Stockholm, Oslo), based on  the problem inherent in wearing the niqab; Lost in burqa, (at  the Festival danse d’ailleurs, 2011) a performance for 8 dancers, based  on the “clothing-sculptures” by the Moroccan plastician Majida Khattari;  Masculines (at the Arsenal de Metz, 2013) and on the representations of the feminine on both sides of the Mediterranean.

They are reactivating a choreographic research recharging itself with the expressive and poetic potential of dance. Une douce imprudence co-signed with Thierry Thieû Niang (at the  Festival Ardanthé 2013, and the Théâtre National de Chaillot, 2014) on  the idea of “Care”; Waves, a commission for the Swedish opera  company NorrlandsOperan and its symphony orchestra, under the auspices  of Umeå 2014, European cultural capital, for which they are associated  with the Swedish singer and composer Peter von Poehl.

They also chose to step outside theatres to work in situ in other reactive contexts.    In February 2009, they created the performance Stèles as part of a special “Nocturne”, a commission from the Louvre Museum.    In 2008 they created Promenade at the Grand Palais, imagining a dialogue with the monumental sculptures of Richard Serra.    In January 2012 they created Circle, inviting the audience into  the center of a circular structure where dance goes wild with the  massed collective energy of 26 professional and amateur dancers.    In 2013, as part of the Normandy Impressionist Festival they stepped  inside the exhibition “Summer at the water’s edge” at the Beaux-Arts  Museum of Caen for a choreographic Flânerie (wandering).

Creation of the Festival Danse d’Ailleurs (Dance from Elsewhere) (2005)    Beginning in 2005, they founded the Festival Danse d’Ailleurs whose  vocation is to put back into perspective the idea of universalism while  questioning referent frameworks for modernity in art, relating to  cultural horizons.    The first four editions focused on artists from the vast, diverse  African continent and brought international recognition to the event,  and the following editions opened as far as Asia, linking with the Hot  Summer Festival in Kyoto, Japan.

Héla Fattoumi and Éric Lamoureux are fully committed to the promotion and the defense of choreographic art.    From 2001 to 2004, Héla Fattoumi was the dance vice president of the  SACD (Société des Auteurs Compositeurs Dramatiques). She was also in  charge of programming the section called ”Vif du sujet” at the Avignon  Festival.    From 2006 – 2008, she was the President of the ACCN (Association of the  National Choreographic Centers). From 2010 – 2013 Éric Lamoureux took  over the Presidency; he is now the vice president.    From 2013 to 2015, Héla Fattoumi has been the president delegated to long-term planning at the SYNDEAC.

In March 2015 Héla Fattoumi and Éric Lamoureux were named  Directors of the Centre chorégraphique national de Franche-Comté in  Belfort, for which they are developing their VIADANSE project.

Lazarini, Xavier

Xavier has been trained as lighting designer by different classes (Ists fPtsc, ecole Nationale louis lumière), and has been the wizard of marie-christine soma, rémi Nicolas and Dominique bruguière. between 1991 and 1995, he managed the light department of the grande halle de la Villette.

Then he assumed the function of light manager and general manager for the compagnie of Josef Nadj (National choreographic center of orleans) from 1998 to 2004. he works in different artistic fields: theatre, circus, opera, and more preferentially in the field of contemporary dance, alongside hela fattoumi and eric lamoureux for ten years, and more recently with franck II louise, radhouane el meddeb, Xavier lot, aïcha m’barek and hafiz Dhaou. 

Since two years, he developped architectural and museum lighting, and he works as lighting designer at the futuroscope in Poitiers, and at the general electric Pavilion of the beijing olympics. he also participated to the music festival 

Sarti, Raymond

“From work to place, from stage to landscape. From meaning to form… This is how scenography takes shape.”

From the meticulous space of the silversmith’s matrix, he now shears the spaces to make places. With a view to combining the arts, plurality, as the basis of his approach, he collaborates with numerous directors, choregraphers, directors, visual artists, architects and landscape designers. It is througth these paths of crossings and encounters that his artistic journey is founded. Each project area is as much an intellectual experience as it is an artistic one, nourishing the context in wich it is produced.

He gives numerous lectures on the cultural issues of scenography and is a workshop speaker in French and international art schools and universities.

He has been teaching scenography since 2007 at the École Nationale Supérieure des Arts Décoratifs (ENSAD) in Paris.

In 2000, he was promoted Chevalier des Arts et des Lettres by Madame la Ministre Catherine Trautman.
In 2003, he received a grant from the Central Region’s Chamber of Commerce and Industry to assist with the creation of the company.

In 2004, the project Mémoire de garrigue Pont du Gard, a UNESCO-listed site, received the ARTURBAIN Prize.
In 2011, when he was appointed president of the union des Scénographes, he initiated an international conference under the aegis of ENSAD, whose theme « What scenography ? » will gather for two days, 50 scenographers, directors, choreographers, academics, coming from Europe to the Grande Halle de la Villette.

This first international meeting of scenography will result in acts “between Practices and Teachings”.

In 2016, he received the Prix du Design et de la scenographie « Paris shop Design » section Culture, awarded by the City of Paris, the CCI of Ile de France, the Arcitek Order, for the Conseil Général de la Réunion in Paris.

He is the author of numerous articles on scenography in publications, books, and is currently preparing an essay on scenography (To be published) Scenography. s, from the black box to landscapes».

Lamoureux, Éric

Éric Lamoureux has been a choreographer and performer since the early 1990s.
He is the director of several of the pieces he choreographs with Héla Fattoumi.

VIADANSE - Direction Fattoumi-Lamoureux - CCN de Bourgogne Franche-Comté à Belfort

The Centre Chorégraphique National de Franche-Comté in Belfort (CCNFCB) is a space dedicated to contemporary creation. The French CCN label (National Choreographic Center) was established in 1984.

Currently there are 19 of these National Choreographic Centers in France.

Since March 2015, the Centre chorégraphique national de Franche-Comté in Belfort has been directed by Héla Fattoumi and Éric Lamoureux, for which they created the project VIADANSE. 

Their project VIADANSE is laid in the prospect of a 3rd generation choregraphic center, revolving around a dynamic concept highlighting the circulation of projects and the building of networks, from Franche-Comté to Burgundy ; from the Grand Est to Switzerland and Europe.

BALLET DE L'OPÉRA DE TUNIS

The Ballet of the Opera of Tunis was created in 2018 under the supervision of the Ministry of Cultural Affairs and on the occasion of the opening of the City of Culture. This project was the result of a colossal work undertaken to set up a national dance troupe that will reflect the image of the Tunisian society.
This Ballet comes as part of a strategy to promote, structure and valorize the sector of dance, with a redefinition and consolidation of the artistic capacities of this sector. It is meant to be a space open to all the choreographic researches, the multidisciplinary experimentation and to the artistic creations. With 17 dancers, the Ballet of the Opera of Tunis aims to be like a contemporary choreographic company for the creation, offering remarkable works of Tunisian and foreign choreographers. 

BNETT WASLA

Artistic direction / Conception : Héla Fattoumi - Éric Lamoureux

Choreography : Héla Fattoumi - Éric Lamoureux

Interpretation : Cyrinne DOUSS, Oumaima MANAI, Nour MZOUGHI, Houda RIAHI

Set design : Raymond Sarti

Original music : Éric Lamoureux Extraits : Mounir Bachir - Hamza Eldin

Lights : Xavier Lazarini

Settings : Ateliers du CDN de Besançon Dominique Laine (serrurier) France Chevassut (peintre)

Technical direction : Thierry Meyer

Production / Coproduction of the choreographic work : Production Viadanse - Centre Chorégraphique National de Bourgogne Franche-Comté à Belfort Co-Production Ballet de l’Opéra de Tunis Le Théâtre, Scène Nationale de Mâcon

Duration : 40 minutes

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