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Lointain

Lointain

Lointain

Lointain is an outmoded and contemplative piece.
The subject of study in this piece is musical emotion…
How can one create osmosis between the abstract structure of a choreographic project and the “romanticism” of a musical score?
The narrative form of the music serves as a catalyst, a form of emotional provocation as in film: it’s the ear that makes us see.
Playing with theatrical illusion and the apparent “poverty” of its materials, Lointain imposes itself as a foveal piece where all elements are unidirectional: light sources, mono-sound diffusion, dance, singular costumes.
The choice to work from act 2 scene 2 of Wagner’s Tristan und Isolde for a male-female duet came to me like a gamble: Tristan and Isolde do not “consummate” their love. They are in the living flux of becoming and of organic fulfilment, of progressive revelation.
The musical structure of the opera is surprising; its entire architecture is constructed around the search for a note which will only become perceptible at the moment of Isolde’s death… An abstract project which underlies the work; and there again, a gamble.
The work of the body emerges from forty positions taken by the dancers within the everyday space of an apartment, then these positions are decontextualized and reinvented in an empty place; but the layout of the apartment (its blueprint) is preserved, allowing an imaginary spatial disposition to be retained… Following this, a sort of labyrinth is set up in which the two bodies move maintaining a very close space between the two dancers to procure a “sympathetic proximity” in the spectator.  There’s a sort of impossibility of contact, though the bodies are always on the edge of brushing against each other.


Source : CCN Caen, Normandy

Lointain

Lointain is an outmoded and contemplative piece.

The subject of study in this piece is musical emotion… 

How can one create osmosis between the abstract structure of a choreographic project and the “romanticism” of a musical score?

The narrative form of the music serves as a catalyst, a form of emotional provocation as in film: it’s the ear that makes us see.

Playing with theatrical illusion and the apparent “poverty” of its materials, Lointain imposes itself as a foveal piece where all elements are unidirectional: light sources, mono-sound diffusion, dance, singular costumes.

The choice to work from act 2 scene 2 of Wagner’s Tristan und Isolde for a male-female duet came to me like a gamble: Tristan and Isolde do not “consummate” their love. They are in the living flux of becoming and of organic fulfilment, of progressive revelation.

The musical structure of the opera is surprising; its entire architecture is constructed around the search for a note which will only become perceptible at the moment of Isolde’s death… An abstract project which underlies the work; and there again, a gamble.

The work of the body emerges from forty positions taken by the dancers within the everyday space of an apartment, then these positions are decontextualized and reinvented in an empty place; but the layout of the apartment (its blueprint) is preserved, allowing an imaginary spatial disposition to be retained… Following this, a sort of labyrinth is set up in which the two bodies move maintaining a very close space between the two dancers to procure a “sympathetic proximity” in the spectator.  There’s a sort of impossibility of contact, though the bodies are always on the edge of brushing against each other.


Richard, Alban

Alban Richard discovered contemporary dance while he was pursuing literary and musical studies. From the late 1990s, he worked for various choreographers such as Odile Duboc, Olga de Soto and Rosalind Crisp.

In 2000, Alban Richard founded Ensemble l'Abrupt for which he created about thirty very different pieces, always in close interaction with a musical work whose writing and formal structure he questioned. Consequently, each creation opens up new research and a new performance style, setting itself apart from the previous one. The way he develops his shows, using restricted improvisations to devise the work directly on stage, encourages the performers to become creators of their own dance.

Alban Richard has collaborated with the Alla francesca ensemble, Les Talens Lyriques, Les Percussions de Strasbourg, the Ensemble intercontemporain, IRCAM and the Cairn, Instant Donné and Alternance ensembles, as well as with composers Arnaud Rebotini, Sebastian Rivas, Erwan Keravec, Jérôme Combier, Laurent Perrier, Raphaël Cendo, Robin Leduc, Paul Clift, Wen Liu and Matthew Barnson.

A prolific choreographer, Alban Richard is regularly invited by ballets and companies, both internationally (Canada, Lithuania, Norway) and in France, to create commissioned works.

Since 2015 he has been artistic director of the centre chorégraphique national de Caen en Normandie, with a project based on both his practice as an author and on connecting with the territory and its inhabitants.

More information : https://ccncn.eu/english/

Simon, Nicolas

Initiated to music and cinema by his two older brothers Nicolas Simon quickly becomes a cinephile and begins to direct short films as a teenager.

After a training in audiovisual professions at ESRA Bretagne, where he directed two short films in 16 millimeters, he met Emmanuelle Vo-Dinh in 2004 and discovered contemporary dance. In 2008, he directed « Making Rainbow », which traces the five months of creation of the first edition of the show "Rainbow" in Rennes.

He then co-directed «Le Grand Éléphant - l’Aventure des Constructeurs» an incursion of nearly two years in the premises of the association "The Machine" to follow with its builders the birth of the Grand Elephant Island of Nantes .

While continuing to work regularly with many choreographers like Alban Richard or Daniel Dobbels, he has since made several documentaries, commercials or video clips as well as three seasons of the series « La Tête de l’Emploi » for France 3.

centre chorégraphique national de Caen en Normandie

A place for dance open to everyone, where people come to see, dance and talk.

The centre chorégraphique national de Caen en Normandie is a space of shared projects that questions the world in which we live, a receptive place where dance is at the heart of an artistic, political and civic-minded vision. It is a centre for the creation, hosting, production and dissemination of choreographic works, a hub that acts as a resource for training and research. It is a place shared with artists, residents, associations and cultural institutions, a place open to artistic creation and the contemporary repertoire.

Awakening curiosity, stimulating the desire for knowledge, opening up to differences, sharing real artistic, intellectual and human experiences – these are the new challenges identified by Alban Richard for the centre chorégraphique national de Caen en Normandie.

Associated artists 2019-2021: Marco da Silva Ferreira and Mette Edvardsen

Companion artists 2020: Herman Diephuis and Michel Schweizer

https://ccncn.eu/english
 

Lointain

Choreography : Alban Richard

Choreography assistance : Daphné Mauger

Interpretation : Mélanie Cholet, Max Fossati

Additionnal music : Richard Wagner Prologue de l’acte I et extraits de l’acte II, scène 2 de Tristan und Isolde, enregistrement de 1953 dirigé par Wilhem Furtwängler avec Kirsten Flagstad et Ludwig Suthaus (EMI Classics)

Lights : Valérie Sigward

Costumes : Corinne Petitpierre

Sound : Félix Perdreau

Production / Coproduction of the choreographic work : Production déléguée centre chorégraphique national de Caen en Normandie Coproduction ensemble l’Abrupt, Forum du Blanc-Mesnil avec le soutien du Département de Seine-Saint-Denis

Duration : 40 min

Lointain

https://ccncn.eu/evenement/lointain/ 

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