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L'après-midi d'un faune (1965)

CN D - Centre national de la danse 2015 - Director : Centre national de la danse, Réalisation

Choreographer(s) : Jooss, Kurt (Germany) Simonet, Noëlle (France)

Present in collection(s): Centre national de la danse , CN D - Spectacles et performances

Video producer : Centre national de la danse

Integral video available at CND de Pantin

en fr

L'après-midi d'un faune (1965)

CN D - Centre national de la danse 2015 - Director : Centre national de la danse, Réalisation

Choreographer(s) : Jooss, Kurt (Germany) Simonet, Noëlle (France)

Present in collection(s): Centre national de la danse , CN D - Spectacles et performances

Video producer : Centre national de la danse

Integral video available at CND de Pantin

en fr

L'Après-midi d'un faune - version 1965

The Afternoon of a Faun - 1965 version 

When she returned from New York in 1961, Pina Bausch joined the Essen Folkwangballet, a company formed by Kurt Jooss, where she met Jean Cébron. Together, they worked on a technique oriented by the conceptions of Rudolf Laban, mixed with contributions made by North-American Modern Dance and the legacy of Enrico Cecchetti in the world of ballet. For these two exceptional interpreters, Kurt Jooss delivered, in March 1966 to Claude Debussy’s music, his version of The Afternoon of a Faun. The play of dynamic contrasts, combined with the modulations of movement patterns, in turn treated on a multidirectional mode or according to flat logics, reminiscences of Nijinsky’s work, shape the choreographic material. The score, prepared in Labanotation at the time of its creation, today allows Noëlle Simonet to give new shape to this little known work. 

(source : programme du CND)

Jooss, Kurt

(1901-1979)

A natural leader and independent thinker, Jooss (1901–1979) helped develop what is now known as German Tanztheater, an expressive dance style that combined movement, text and drama. For Jooss, movement and words were inextricably linked; their connection was key to making performances as powerful an experience as life itself. Unlike expressionist choreographers of his time whose dances spoke to emotional themes, he sought to reveal the fallibility of the human condition. He created dances about urban alienation, social injustice and post-war trauma.

Born near Stuttgart, Germany, Jooss grew up studying piano, voice and drama but was drawn to dance from an early age. In 1919, he met Rudolf Laban, who was creating mass movement choirs danced by both professionals and amateurs, including Jooss. Although he had little dance training, he became Laban's student and choreographic assistant. That same year, Jooss presented his first evening of dance, "Two Male Dancers", with fellow student Sigurd Leeder, who became his longtime collaborator. Soon after, Jooss started his own company and created stage works for trained dancers. In 1927, he began his tenure as the first head of the dance department of the Folkwang School in Essen, Germany, which he co-founded that year. After WWII ended, Jooss returned to Germany and resumed his position as dance director of the Folkwang School, and he remained there until 1968.

Source : Dance teacher

More information

dance-teacher.com

 

Simonet, Noëlle

Having trained in ballet and contemporary dance at the Rambert School of Dance, Noëlle Simonet worked in several companies: the Ballet Théâtre Contemporain d’Angers, the Ballet Théâtre Français de Nancy and the Ballet Théâtre du Silence.  She performed the works of several renowned choreographers, such as F. Blaska, G. Balanchine, L. Falco, M. Cunningham, V. Farber and D. Gordon.

Whilst carrying on her work with choreographers M. Caserta, J-M Matos et Philippe Tresserra, she continued to study the “Pilatess” technique, and in 1986 Simonet won the performance prize at the first Concours Chorégraphique de la Ville de Paris (Choreography Competition of the City of Paris).

In 1997, having trained in the analysis and scripting of movement at the Paris Conservatoire under Jacqueline Challet-Haas, she created the Labkine Company.  Her goal here was to convey the richness of the dance repertoire by reconstructing works from their music scores and sharing them with an audience.

-At the start of the century she worked with Elisabeth Schwartz, a dance specialist, and performed some of Isadora Duncan’s works.

-In 2007 and 2008 she reimagined the works of the ‘New Dance Group’ collection and ‘Rooms’ by Anna Sokolow with Jean-Marc Piquemal, and in 2009 created the performance ‘Dancing Red’ and the lecture-performance "Le Répertoire en mouvement, étude révolutionnaire".  Parallel to her activities within the Labkine Company, from 1999 Noëlle Simonet taught Laban’s system of movement at the Conservatoire National Supérieur de Musique et de Danse de Paris.  

-Simonet worked together with the internationally renowned dancer Wilfride Piollet on the creation of her book “Les Barres Flexibles”, published by “L’une et l’autre”, which records the set of exercises in Laban “cinetography” which form the dancer’s innovative training technique.

-She notes Jean Guizerix’s choreography “Cahiers 1830”, crafted from exercises Léon Michel recorded for his son Arthur Saint-Léon.

She trained in Body Mind Centering® (Bonnie Bainbridge Cohen), lead by Vera Orlock and Thomas Griel, and qualified as a Somatic Movement Educator in 2013.

From 2006 to 2009 she was part of the ICKL (International Council of Kinétographie Laban) research committee.

In 2011 and 2013 she was given grants by the Centre National de la Danse de Pantin, as part of their scheme aiding research and dance heritage, for the following projects: The choreographic score -a tool for transmission, a tool for creation - #1 The rough sketch of the journey, and the second section: #2 shifts and turns.

In 2015, she created the performance “SIGNATURES”, a duet about walking and space inspired by the spatial signatures of the great choreographers D. Humphrey, L. Childs and M. Cunningham, in collaboration with the dancer, assessor and choreographer Raphaël Cottin.

She extends her collaborations to reflexion and research groups.  In 2015 she took part in the Labodanse group, comprising of dance-science and philosophy workshops and symposia.  Since 2014 she has worked on several occasions with the Gepetto human robotics research team LAAS-CNRS in Toulouse, lead by Jean-Paul Lammond.

In 2015, the Centre National de la Danse de Pantin, in collaboration with the Opéra de Paris, commissioned her to revive Kurt Jooss’ “L’après-midi d’un faune”, with two of the Opéra de Paris’ dancers.  This was presented as part of the CND “Scène de gestes” programme in November 2015.


Source : www.labkine.com/ 

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.).

L'Après-midi d'un faune - version 1965

Choreography : Kurt Jooss - Reprise et transmission sous la direction de Noëlle Simonet

Interpretation : Solistes du Ballet de l’Opéra de Paris - Valeria Guiga, Pierre Arthur Raveau

Other collaborations : Enregistré au CND le dimanche 8 novembre 2015 dans le cadre de Scènes du geste

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