Jour de colère
Jour de Colère
“The oeuvre of Julius Eastman, a sadly forgotten figure of American minimalism, transcends his rather tragic life story. His music is minimal only as it concerns his writing process. Otherwise it channels a strong rock n’ roll energy, in phase with his political commitments as a black, gay musician, and in phase with his generation, which dreamed of attaching collective ideologies to individual freedoms.
The piece Evil Nigger, here in a version for piano and electric guitar performed by Melaine Dalibert and Manuel Adnot -- is already its own manifesto. When asked about its shocking title, Eastman went into a rant about personal commitment and the convergence of the struggle.
This singular and collective characterization is the point of departure for the 21 different pieces interpreted by the dancers. They use and abuse their honed bodies, their knife-edged legs, a series of haphazard pirouettes and grands jetés, piling up into absolute chaos and high‑flying energy, in a mix of trivial and virtuosic movements.
We need young people to rise up: this is the energy I want to use here, echoing the formidable vitality in this composer’s music, in the space he himself shows us, between “great” music and popular trends.”
Source: Ballet de Lorraine
Trained first in ballet, Olivia Grandville resigned from the Paris Opéra Ballet to join the Compagnie Bagouet in 1988. For more than twenty years she has developed her own work, most focusing on the question of language and phrasing, be it musical, verbal or choreographic.
In 2010, she created Une semaine d’art en Avignon (A week of Art in Avignon) with Léone Nogarède and Catherine Legrand, under the auspices of the Sujets à Vif section of the Avignon Festival, then Le Cabaret discrépant, the result of research carried out on lettrist choreographic scores, created and presented at the 2011 Avignon Festival and then at the Théâtre de la Colline in Paris. During the 2013 2014 season, she created a number of solos: L’invité mystère (The mystery guest) based on a text by Grégoire Bouiller; Le Grand Jeu, a solo described as «under the influence»; and Toute ressemblance ou similitude (Any resemblance or similarity) based on a text by Aurore Jacob. She then created a number of larger scale works, notably Foules (Crowds), a creation for 100 amateur dancers, in 2015, prefiguring her next work, Combat de Carnaval (Carnival Combat) and Carême (Lent) for 10 dancers. She has been an Associated Artist at the Lieu unique since 2017, where she created A l’Ouest (In the west) in May 2018, channeling her own study trip to Canada and the USA to research First Nations dances.
Grandville is also a dancer and improvisation specialist and is regularly invited to work on the implementation of projects, notably by the choreographer Boris Charmatz (Roman-Photo, Levée des conflits, 20 danseurs pour le 20èmesiècle) and César Vayssié (Coproud)…
Bérangère Goossens is a french filmmaker, born in 1979. She studied cinema at university of Paris 8 and started directing documentaries.
CCN - Ballet de Lorraine
Since acquiring the CCN title in 1999, the Centre Chorégraphique National - Ballet de Lorraine has dedicated itself to supporting contemporary choreographic creation. As of July 2011 the organization is under the general and artistic direction of Petter Jacobsson.
The CCN – Ballet de Lorraine and its company of 26 dancers is one of the most important companies working in Europe, performing contemporary creations while retaining and programming a rich and extensive repertory, spanning our modern history, made up of works by some of our generations most highly regarded choreographers.
The CCN functions as an art center and venue for multiple possibilities in the fields of research, experimentation and artistic creation. It is a platform open to many different disciplines, a space where the many visions of dance of today may meet.
More information : http://ballet-de-lorraine.eu
Jour de colère
Choreography : Olivia Grandville
Interpretation : Danseurs du CCN-Ballet de Lorraine
Set design : Jocelyn Cottencin
Original music : Julius Eastman - Evil Nigger
Live music : Melaine Dalibert / Manuel Adnot
Video conception : Bérangère Goossens - les films du point de vue
Lights : Yves Godin (assistante : Magali Caillet Gajan)
Costumes : Jocelyn Cottencin
Other collaborations : Arrangements musicaux et sonores : Manuel Adnot et Melaine Dalibert
Production / Coproduction of the choreographic work : CCN-Ballet de Lorraine
Duration : 30 mn environ
"Du blues au Swing, du Broadway Jazz au Street Jazz Talons" & "Oh Lord" de Géraldine Armstrong
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DANCE AND DIGITAL ARTS
K. Danse's artistic partners
Yield Variations on dissuasive urban furniture
Roots of Diversity in Contemporary Dance
Noé Soulier Rethinking our movements
(LA)HORDE: RESIST TOGETHER
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
Amala Dianor: dance to let people see
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
The national choreographic centres
[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.
Memories (ou l'oubli)
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.
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Presentation of how choreographers are revisiting Folklore in contemporary creations.
Ballet pushed to the edge
Ballet’s evolution from its romantic form until néo-classicism.