In my work I have never really worked on duets. Not as the centre of a piece. I have made trios, quintets, septets, even a piece for 13 dancers and another one for 20 dancers, but no duo. I wanted for once to work on a piece that was made out of duos. A piece that was not a duo, but made out of duos. Duos holding hands. Bodies in weight actions. Doubling and dividing. Masses. Divide, unite, multiply. Closer and closer. Bound together. Occupied bodies. Busy bodies. Body to body.
But there are not only duos. There is the “multiply”. Many actions, many people, many movements. So much activity. Being double and being four. Being three time four, four time three and six time two: Being twelve.
We are the result of an individual cell melting into another one and dividing itself in two. And then in four, and in eight, and in sixteen and so on. Our brain is in two parts. We are two halves.
Double deux-double jeux: double game. Something like playing two games at the same time. Not playing fairly. Having another side. Another life. Being alone.
We are one but we sometimes feel two. Do we multiply or do we divide? We are made of divisions. We are binaries been. We are organic material made out of division and union. And we must be two to produce life. A life that will divide again and again. And unite. And divide.
Source : Gilles Jobin
Gilles Jobin has been internationally known since his first choreography for three dancers "A+B=X" created in 1997 at Arsenic in Lausanne, and presented two years later at Montpellier Danse Festival. He then moved to London and premiered "Macrocosm" at the Place Theater. In 1999, he produced "Braindance" which opened the 2000-2001 season of Théâtre de la Ville in Paris.
His radical artistic directions and his international recognition made him the precursor of a new generation of European choreographers. Another quintet followed, "The Moebius Strip", first performed at the Théâtre de la Ville in Paris in 2001.
In 2002, he produced "Under Construction" at the Schaubühne in Berlin. In 2003, Gilles Jobin surprised again by accepting a commission from the Ballet du Grand Théâtre in Geneva and created "TWO-THOUSAND-AND-THREE" for twenty-one dancers. The same year, he created "Delicado" for the Gulbenkian Ballet. In march 2005, he created "Steak House". In 2006, he became associated artist of Bonlieu Scène nationale Annecy in France where he premiered his four following productions "Double Deux" (2006), "Text To Speech" (2008), "Black Swan" (2009) and "Le Chaînon Manquant - The Missing Link" (2010). In 2011 he created, always at Bonlieu Scène nationale Annecy," Spider Galaxies" – a piece in which he redefines movement with the support of an impressive iconographic data base. He also re-staged "A+B=X" with new performers. In 2013, he created PROTOKIDS at the La Bâtie Festival in Geneva for nine young dancers from the Virevolte Manon Hotte Company. He also produced QUANTUM, a piece for six dancers. The piece received the support of the Hermès Foundation for the collaboration between Gilles Jobin and the visual artist Julius von Bismarck whose installation Versuch Unter Kreisen was used as a lighting and staging device. Writing of the storyboard for the choreographic 3D film Womb (production Gilles Jobin, set Sylvie Fleury, music Franz Treichler, costumes Jean-Paul Lespagnard).
Besides his own productions, Gilles Jobin has made of his company, and his headquarters of Studios 44 in Geneva, a pioneering place for the recognition of contemporary dance in Switzerland, international professional exchanges, daily training for dancers, educational activities and capacity building, workshops, artistic residencies, as well as projects with countries from the Southern hemisphere.
Source : Gilles Jobin 's website
More information : gillesjobin.com
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
Choreography : Gilles Jobin
Choreography assistance : Isabelle Rigat
Interpretation : Jean-Pierre Bonomo, François Chaignaud, Victoria Chiu, Marie-Caroline Hominal, Mariusz Jedrzejewski, Marcel Leemann, Chiharu Mamiya, Ismaël Oiartzabal, Susana Panadès Diaz, Emma Ribbing, Isabelle Rigat, Rudi Van Der Merwe
Original music : Cristian Vogel
Lights : Daniel Demont
Costumes : Karine Vintache, Caroline Bault (assistance)
Technical direction : Gildas Burille
Sound : Clive Jenkins
Production / Coproduction of the choreographic work : Maria-Carmela (administration-production), Mélanie Rouquier (assistance de production), Yves Bachelier production Cie Gilles Jobin - Genève coproduction Bonlieu Scène nationale, Annecy - France / Théâtre de la Ville, Paris - France / Festival Montpellier Danse 2006 - France / La Bâtie, Festival de Genève - Suisse / Théâtre Arsenic, Lausanne - Suisse / Kampnagel, Hambourg - Allemagne Gille Jobin bénéficie d'une convention de soutien conjoint pour la période 2007-2009 de la Ville de Genève, du Canton de Genève et de Pro Helvetia. aide à la tournée 2007 : La Loterie Romande, Corodis Gilles Jobin est artiste associé à Bonlieu Scène nationale, Annecy
Production / Coproduction of the video work : Cie Gilles Jobin, Maison de la Danse, 2007
Unconventional contemporary dance shows which reinvent the rapport to the stage.
Western classical dance enters the modernity of the 20th century: The Ballets russes and the Ballets suédois
If the 19th century is that of romanticism, the entry into the new century is synonymous of modernity! It was a few decades later that it would be assigned, a posteriori, the name of “neo-classical”.