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Grosse Fugue (version studio)

CN D - Centre national de la danse 2016 - Director : Centre national de la danse, Réalisation

Choreographer(s) : Marin, Maguy (France)

Present in collection(s): CN D - Spectacles et performances

Video producer : Centre national de la danse

Integral video available at CND de Pantin

en fr

Grosse Fugue (version studio)

CN D - Centre national de la danse 2016 - Director : Centre national de la danse, Réalisation

Choreographer(s) : Marin, Maguy (France)

Present in collection(s): CN D - Spectacles et performances

Video producer : Centre national de la danse

Integral video available at CND de Pantin

en fr

Grosse Fugue (version studio)

Version studio, with no light, no set et no costume, presented during  "La Fabrique" : workshops, repertory, video installation and posters with the Ballet de l'Opéra de Lyon on 10 December 2016 at the CN D in  Pantin.

Grosse Fugue
Here the Ballet de l’Opéra de Lyon gives audiences the  opportunity to discover the resonances between their works from its  repertory - all three of which are set to Grande Fugue op. 133 by Beethoven. Maguy Marin’s relationship to this “grand music” of Beethoven carries with it the  imprint of liberty and fantasy. In keeping with her keen eye for the  off-beat, her version confronts the Grande Fugue’s dark tonalities with a quartet of women dressed in red.

Source : programs of the CN D & Festival d'Automne à Paris

Marin, Maguy

Born in Toulouse, dancer and choreographer Maguy Marin studied classical ballet at the Toulouse dance academy. She then joined the Strasbourg Dance Company and later Mudra, Maurice Béjart’s multi-disciplinary school in Brussels. In 1978, with Daniel Ambash, she founded the Ballet-Théâtre de l’Arche, which was to become the Compagnie Maguy Marin in 1984. The Centre Chorégraphique National de Créteil et du Val-de-Marne followed in 1985: its unremitting artistic work spread worldwide.
In 1987, Marin’s encounter with musician-composer Denis Mariotte was the starting point of a decisive partnership, which broadened the scope of experimentation.
Then in 1998, a new place to settle in, for a new Centre Chorégraphique National, in Rillieux-la-Pape: a place as a we in time and space to strengthen one’s ability to foster those diagonal forces resisting oblivion (H. Arendt).
The year 2011 saw a remodelling of the framework in which the company’s reflection and achievements unfold. After the intensity of the Rillieux-la-Pape years, there emerged a need for a new phase in Toulouse from 2012.
In January, 2015, Maguy Marin and the company find the region of Lyon. An installation to ramdam to Sainte-Foy-lès-Lyon, who engages the deployment of a new ambitious project: RAMDAM, un centre d’art.


Source : Compagnie Maguy Marin

More information : compagnie-maguy-marin.fr

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

Grosse Fugue (version studio)

Choreography : Maguy Marin

Interpretation : Noëllie Conjeaud, Graziella Lorriaux, Elsa Monguillot de Mirman, Lore Pryszo

Additionnal music : Ludwig Van Beethoven, Grosse Fuge, op. 133

Production / Coproduction of the choreographic work : Pièce pour quatre danseuses, créée par la Compagnie Maguy Marin à l’Espace Jean Poperen de Meyzieu le 17 mars 2001. Entrée au répertoire du Ballet de l’Opéra de Lyon le 12 février 2006.

Production / Coproduction of the video work : Enregistré au CN D le 10 décembre 2016 dans le cadre de La Fabrique

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