Excès
2022 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Matijević, Barbara (Croatia)
Present in collection(s): CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Excès
2022 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Matijević, Barbara (Croatia)
Present in collection(s): CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Excès
Keep dancing – Danser Encore
The Lyon Opera Ballet will perform soli all over the CN D, in a choreographic circuit resulting from the meeting between one different dancer and one different choreographer for each solo. “Danser Encore” wishes to reflect the diversity of contemporary creation and immerse us into a living creative process for contemporary dance. Initiated in 2020 by Lyon Opera Ballet director Julie Guibert, the “Danser Encore” cycle relies on a desire to showcase the individuality of the company’s dancers and to support choreographic creation in the difficult context of a global pandemic by banking on the fertile dialogue between choreographers and performers. From the creation of tailored soli, “Danser Encore” exposes the team work of two people and highlights how diverse contemporary creation is. After conceiving 13 original soli, the Lyon Opera Ballet will continue the project by creating more pieces that will use all the resources of the body, image and movement. Occupying the entire space of the Centre national de la danse over the course of two days, over 10 soli will be performed in the studios and the Atrium, revealing the fragility, lightness, density and particular grain of each performer and the magnitude of their desire to dance.
Excès
Excès, a solo for Coralie Levieux, engages her senses in all directions at once, challenging the interstices between inside and outside, spaces and times. Through the play of the senses, her body becomes an alchemical proliferation of visions, smells, tastes and sounds, between future and past, active and passive, actual and virtual, already and not-yet, too much and not enough.
Source: programmes of the CND and Lyon Opera
Matijević, Barbara
Born in Croatia, where she trained with Kilina Cremona, Barbara Matijević composed her first choreographies in the 2000s while collaborating as a performer with Bojan Jablanovec, Boris Charmatz and Joris Lacoste. She also teaches dance.
Barbara Matijević and Giuseppe Chico founded the company Premier Stratagème in Paris in 2008.
Centre national de la danse, Réalisation
Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).
Le Ballet de l'Opéra de Lyon
As early as 1969, when arriving at the head of the “Opéra Nouveau de Lyon”, Louis Erlo gave a key place to dance. For the first time, an opera house outside of Paris consecrated to its ballet company entire events devoted to dance. Ever since, it has never stopped opening up to every kind of source, be it a stream or a river, close or far, harmonious or stormy. But, whatever the case, always talented. Right from the start, the Ballet de l’Opéra de Lyon has lived out this vivifying opening to the world, with its first directors, the Italian Vittorio Biagi, then the Yugoslav Milko Speremblek and the New-Zealander Gray Veredon, who were all in the neo-classical, Béjartian movement of the times.
But, as of 1985, it was Françoise Adret who gave the company a resolutely plural turn. “Mère Adret” as her dancers affectionately called her, had an eye, the gift of the gab and a large address book. Above all, Française had travelled widely and her mission was to give the troop a national and international dimension. She built up a repertory based on a twofold spectrum: great international choreographers who were still little demanded, (and not the least of them, including Jiří Kylián, Mats Ek, Nacho Duato or William Forsythe) and an opportunity given to “young French dance” (Mathilde Monnier, Maryse Delente, or Angelin Preljocaj)… In any troop, there are moments of grace. But, in Lyon, a lightning bolt was to change the course of history. In 1985, no one imagined that a magical doll (Maguy Marin’s Snow White) would provide the company with a world tour, with no fewer than three trips to the USA in just 1987… Three years later, Lyon did it again by creating the famous rereading of Romeo and Juliet by Angelin Prejlocaj. This was a fresh challenge (and, for the choreographer, his first important commission), and another memorable piece. The die was now cast … When, in 1991, the Greek ballet-master and director Yorkos Loukos replaced Françoise Adret, the trend was set and has continued to thrive until today, with an extremely open-minded “choreographic” palette. Maguy Marin, who had become resident choreographer, set off even more sparks when, in 1993, she inaugurated the new Opéra de Lyon with an offbeat version of Coppélia set in a popular bar in the suburbs of Lyon. With turnings-back towards the history of dance, views of the contemporary scene, visions of what it will be tomorrow, a plurality of styles, the ages of the choreographers, their origins, and backgrounds, the strength of the Ballet de l’Opéra de Lyon comes from the very absence of any particularity, except if it is the highly diverse repertory as sought out by Yorgos Loukos. It goes without saying that it attracts the public (who love novelty) and today’s young dancers, who like and are used to changes of style. Even the teachers are in constant motion, changing every month, so as to avoid any routine.
Today, the company has a repertory of 117 pieces, over half of which are creations. A list of the choreographers who have worked in Lyon is a reminder of the importance of the pioneers of new French dance (Mathilde Monnier, Jean-Claude Gallotta) and its young cousins (from Jérôme Bel to Christian Rizzo, Alain Buffard or Rachid Ouramdane). It also means meeting the guiding lights of modern American dance (Trisha Brown, Merce Cunningham, Lucinda Childs), from post-classic energy (William Forsythe, Benjamin Millepied) to the "next wave" (such as Otto Ramstad). It means exploring Belgian musicality (de Keersmaeker) Swedish theatricality (Mats Ek), Czech lyricism (Jiří Kylián), or Israeli power (Ohad Naharin, Emanuel Gat). It means getting used to seeing new talents (Tania Carvalho, Alessandro Sciarroni, Marina Mascarell..). It means… being at the confluences of a dance that has never been so open to the world.
Source: Opéra de Lyon 's website
More information : opera-lyon.com
Excès
Choreography : Barbara Matijevic
Interpretation : Coralie Levieux
Production / Coproduction of the video work : Enregistré au CND le 14 octobre 2022 dans le cadre de "Danser Encore", un parcours chorégraphique composé de solos et proposé par le Ballet de l'Opéra de Lyon
DANCE AND DIGITAL ARTS
K. Danse's artistic partners
Dyptik Company
Roots of Diversity in Contemporary Dance
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
LATITUDES CONTEMPORAINES
40 years of dance and music
Indian dances
Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!
The “Nouvelle Danse Française” of the 1980s
In France, at the beginning of the 1980s, a generation of young people took possession of the dancing body to sketch out their unique take on the world.
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
James Carlès
les ballets C de la B and the aesthetic of reality
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.
When reality breaks in
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Here is a sample of extracts illustrating burlesque figures in Performances.
Butoh
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,
Do you mean Folklores?
Presentation of how choreographers are revisiting Folklore in contemporary creations.
States of the body
Explanation of the term « State of the body » when it’s about dance.
Dance in Quebec: Untamed Bodies
First part of the Parcours about dance in Quebec, these extracts present how bodies are being used in a very physical way.