Skip to main content
Back to search
  • Add to playlist

Eventail Onze

Maison de la Danse de Lyon 2006 - Director : Picq, Charles

Choreographer(s) : De Groat, Andy (United States) Guizerix, Jean (France) Piollet, Wilfride (France) Paré, Jean-Christophe (France)

Present in collection(s): Maison de la Danse de Lyon , Saisons 2000 > 2009

Video producer : Maison de la Danse de Lyon

Integral video available at Maison de la danse de Lyon

en fr

Eventail Onze

Maison de la Danse de Lyon 2006 - Director : Picq, Charles

Choreographer(s) : De Groat, Andy (United States) Guizerix, Jean (France) Piollet, Wilfride (France) Paré, Jean-Christophe (France)

Present in collection(s): Maison de la Danse de Lyon , Saisons 2000 > 2009

Video producer : Maison de la Danse de Lyon

Integral video available at Maison de la danse de Lyon

en fr

Eventail Onze

 "Fan Dance is a strange mix of simple but unusual steps, enriched by precise arm movements and an ever-changing random space. A brief hymn to geometric beauty, dancing musicality ... to physical, mental coordination and sensory ... to group discipline and personal freedom. I would like to dedicate La Danse des fans to Wilfride Piollet (1943-2015) and to Jean Guizerix (born in 1945), Stars of the Paris Opera. Together, they demonstrated a vital loyalty and endless friendship that meant a lot to me. " 

Andy de Groat - 2018 

Source: https://olivierclarge.wixsite.com  

De Groat, Andy

(1947-2019)

Andy De Groat was born in 1947 in the United States into a family of Dutch, Italian, French, German and English origins. Whilst studying at the New York School of Fine Art in 1967, he met the director Robert Wilson. He joined his troupe as a dancer, then as a choreographer for all the productions from Deafman Glance in 1971, A Letter for Queen Victoria in 1974 to Einstein on the Beach in 1976, created for the Avignon Festival.
In 1981, he received a grant from the Guggenheim Foundation in New York for his choreographic research.
He created new works in succession for red notes, including several for Jean Guizerix, Wilfride Piollet, Jean-Christophe Paré, the Choreographic Research Group of the Opera of Paris (GRCOP), the Scala in Milan, Ris et Danceries, the Ballet du Nord (Roubaix) and Wah Loo Tin Tin Co, a Montauban-based company of young performers.

Today, his work totals over sixty creations that have been presented in around twenty countries and periodically goes back to questioning the repertoire and the heritage of dance.

His company has worked regularly on lyrical productions since 1988, in particular on "The Magic Flute" (Mozart), with Robert Wilson at the Opera Bastille, Paris, "The Rake's Progress" (Stravinsky), with Alfredo Arias for the Aix-en-Provence Festival of Lyric Art and at the Operas of Lyon, Gênes and Montpellier, "Aida" (Verdi) and Klaus Michael Grüber at the Amsterdam Opera.

Source : website of the Centre national de la danse (CND, Pantin)

Guizerix, Jean

Born in Paris on October 27, 1945, Jean Guizerix began dancing late at the age of seventeen. He continued to practice dance in an amateur fashion and at the same time pursued higher studies at the Sorbonne. Having to make a choice between study and dance, he chose the latter out of passion and presented himself to the conservatory where he was refused. He then appeared at an audition at the Paris Opera in 1964. Two years later he was quadrille, then coryphée the following year. Appointed subject in 1968, he was already entrusted with solo roles, notably in Turangalila (R. Petit) in 1969 and Arcades (A.Labis). In 1971, he was named Principal Dancer and a year later was named Danseur étoile.

Apart from his work as a dancer at the Opera, Jean Guizerix is ​​also a choreographer. He created his first solo O Tod, in 1969 for his wife Wilfride Piollet. In 1986, with his wife, he created a dance company with a large repertoire including choreographers from various influences. He left the Opera in 1990, and for the occasion had carte blanche for the organization of this evening. 

From 1990 to 1998, he was a professor at the CNSMDP then he became ballet master at the Paris Opera from 1998 to 2000. He was then appointed advisor for dance to the Ministry of National Education until 2002. In 2003, he is for a few months acting artistic director of the Ballets du Nord.  Since 1997, he has been a teacher at the National Circus Arts Center. He gave lessons with his wife Wilfride for their association "Clef de sol".

He is also the author of several books, he wrote in particular Parallèle in 1986, le Moulin de Jerry, Sens et Tonka edition, published in 2003 and Libretto de Giselle by Théophile Gautier at L'une et l'autre editions in 2012.


Source: theatre-contemporain.net

Piollet, Wilfride

Wilfride Piollet trained at the Paris Opera Ballet school and was given her first solo role by Maurice Béjart in “Noces” in 1965. She was made principal dancer in 1969.

Both at the Paris Opera and all over the world, she performed the great roles of classical and neoclassical repertoire. Jean Guizerix became her partner for dance and for life, and they performed the contemporary choreographies of Merce Cunningham, Lucinda Childs, Douglas Dunn, Andy de Groat, Félix Blaska, Dominique Bagouët and Daniel Larrieu, to name but a few. Piollet also danced the neoclassical works of George Balanchine, Serge Lifar, Roland Petit and Jerome Robbins, and threw herself into Belle Danse (historical dance) under the direction of Francine Lancelot. Since 1977 Piollet has choreographed her own works, which include “Le Prince de Bois”, “Huit danses hongroises”, “Renard”, “Lettera Amorosa”, “Dam'Oisel”, “Momerie”, “Ballet Figuré”, “Penthésilée” and “La Conjuration” among others. In 2003, the year in which she finished her performing career, she and Madeleine Lytton began working on the repertoire of Isadora Duncan. When Nadège Tardieu published her thesis on her method “Les Barres flexibles”, Piollet began working on a study of the image of gestures in dance (Les trois temps du corps), then with Francette Levieux (Giselle) and alongside Frédérique Liébaut on “Le corps-partition”, performed in Avignon in 2006.

Piollet choreographed new versions of the great repertoire ballets such as Coppélia, and continued to create new works in smaller form, such as “Le petit Atelier” and “Romance”. In 2005, she and Jean Guizerix choreographed “L'Amour médecin” and “Le Sicilien” for the Comédie-Française (French National Theatre), and “Anonymes” for the École nationale des Arts du cirque (ENAC – National Circus Arts School) in Rosny-sous-Bois (Seine Saint-Denis, near Paris).

From 1989 until June 2008, she taught at the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP). In 1999, she published two works on the subject of her teaching: “Rendez-vous sur tes barres flexibles” and “Barres flexibles” (published by L'Oiseau de Feu).
In 1999, on the website lesbarresflexibles.net, Piollet made the series “Les gestes de Lilou” available online. It is aimed at dance teachers, primary school teachers, parents and educators who wish to teach their pupils or children some basic notions of dance.

In February 2009, Piollet took part in a performance in which both dancers and audience moved around the Chartreuse de Villeneuve lez Avignon - “La folie d'Igitur” – a work inspired by the work of French poet Stéphane Mallarmé and directed by Andy de Groat. Piollet also performed a tango with Jean Guizerix, reinterpreted by Andy de Groat and Martin Barré.

She passed away January 20, 2015.

Further information

Digital resource - Médiathèque du Centre national de la danse
Wilfride Piollet

Updating: January 2018

Paré, Jean-Christophe

It was with the Ballet of the Opéra National de Paris that  Jean-Christophe Paré started his career as a dancer-performer. Named  Principal Dancer in 1984, he had as early as 1981 decided to stand up  for the possibility to open new pathways of exploration in the work of  interpretation at the Groupe de Recherche Chorégraphique of the Opéra de  Paris. He has collaborated with many choreographers from currents as  varied as modern dance (Paul Taylor, Twyla Tharps), American postmodern  dance (Alwin Nikolaïs, Merce Cunningham, Andy de Groat, Lucinda Childs),  young French dance (Dominique Bagouet, Régine Chopinot, Philippe  Découflé, François Verret, Daniel Larrieu), German expressionist dance  and, more recently, renaissance and baroque dances. These are references  for him in the conception of educational projects which he conducts  while directing the dance depart- ments of the École Nationale  Supérieure de Danse in Marseille (2007-2011), then the Conservatoire  National Supérieur de Musique et de Danse in Paris (2014-2018).

Source: program of the CND

Picq, Charles

Author, filmmaker and video artist Charles Picq 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.

More recently, he launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created the website numeridanse.tv, an international video library for dance online.

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

Eventail Onze

Choreography : Andy De Groat, reprise par Jean Guizerix, Wilfride Piollet, Jean-Christophe Paré

Additionnal music : Michael Galasso - 4’30’’

Production / Coproduction of the video work : Maison de la Danse de Lyon - Charles Picq, 2006

Our themas and videos suggestions

Aucun Résultat

By accessing the website, you acknowledge and accept the use of cookies to assist you in your browsing.
You can block these cookies by modifying the security parameters of your browser or by clicking onthis link.
I accept Learn more