“July ‘90: Daniel Girard, director of La Chartreuse (National Centre for Theatrical Writing) in Villeneuve-lez-Avignon, told me the story of Boabdil, the last Arab-Andalusian emir and ruler of Granada who, to avoid the pillaging and destruction of the city with the arrival of the Catholic monarchs, preferred to leave without joining battle. He suggested devising a celebration of this legendary episode of Granada's history. At first I was taken with the idea of tackling a sort of commentary on the history of the Alhambra over a ground of Arab-Andalusian music, but I soon realised that I was increasingly put off by the notion of respect for the monuments of cultural or historical heritage. On the contrary, I understood that in the end it was the absence of details, of precise historical context and the comic-strip quality of the storyline that attracted me just as much as the simple ideology behind it. I didn't feel the need to produce a respectful, even deferential, homage to the place and its legend, firstly because they don't need it, but also because this would have been to betray my real desire and what I saw in the Court of Charles V in Granada, the procession of tourists, for example, and the derisory cruelty born out of the parallels between past and present. On the other hand, since I was offered this, I really wanted to be in collusion with these partners of a few evenings, these stories, this music.”
Dominique Bagouet, Juillet 1991
Source : les Carnets Bagouet
Chorégraphe Dominique Bagouet assistante Anne Abeille interprètes Hélène Baldini, Hélène Cathala, Rita Cioffi, Matthieu Doze, Olivia Grandville, Dominique Jegou, Sylvain Prunenec, Fabrice Ramalingom, Juan-Manuel Vicente décors Danka Semenowicz décors réalisés par atelier A3 costumes Dominique Fabrègue costumes Judith Chaperon, Dominique Fabrègue, Emmanuelle Fauvel coiffures John Nollet maquillages Sandrine Finck lumières Manuel Bernard musique « nouba hijaz al kabir » de ustad massano tazi , « nouba gharibat alhusayn » , polyphonies espagnoles de la renaissance, curro duran, nana gitana de lola flores, sven lava-pohlhammer, luis segura, angel vasquez, « murmullo de lindaraja » de laurent gachet musique interprétée par « al-ala » : orchestre al-brihi de fès, polyphonies : grupo vocal grega, « curro duran » : banda de musica del maestro tejera, groupe gas gas gas : marucha castillo, miss sirène, véronique terrier, sven lava-pohlhammer, patrick lemarchand, sur scène Remarques commande de Daniel Girard dans le cadre des nuits du Languedoc, 18e rencontres de la chartreuse, programmation du festival d'avignon 1991 Réalisation vidéo Charles Picq, date du document vidéo 1992, production Maison de la Danse
Durée de l'oeuvre 1h25
Angoulême, July 9 1951 - Montpellier, December 9 1992
From 1965, Dominique Bagouet received a classical instruction from Rosella Hightower in Cannes, and was firstly engaged in the Ballet du Grand Théâtre of Geneva at Alfonso Cata's in 1969. He danced the following year with the Félix Blaska's company and joined Béjart's 20th Century Ballet in Brussels. The experience lasted two years and continued with the Chandra group (where Maguy Marin also worked).
Back to Paris in 1974, Dominique Bagouet took tuitions with Carolyn Carlson and Peter Goss. He also danced in the Joseph Russillo's, Anne Béranger's and Peter Goss' companies. Then he left for the United States where he discovered with Jennifer Muller, Lar Lubovitch and others, the techniques of the American schools.
Back to France in 1976, he presented his first choreography “Chansons de nuit” at the Concours de Bagnolet and won the first prize with a mention for research. He then founded his first company. He created play after play, at a fast pace he deplored, in order to make his company survive. Until 1979, he created 14 plays, sometimes hastily and unsatisfactorily.
With “Sous la blafarde”, the young choreographer began to stand out and Montpellier became his haven: the town welcomed the company and gave it the resources to exist as Bagouet was asked to set up and run the Centre Chorégraphique Régional de Montpellier. Besides, he was to create in this town the Festival International Montpellier Danse that he would run until 1982.
Dominique Bagouet created then some of the most outstanding plays in French contemporary choreography, from “Insaisies” (1982) to “Necesito, pièce pour grenade” (1991), the last commission written to celebrate the 500th anniversary of the Spanish town.
With plays such as “Déserts d'amour” (1984), “Le Crawl de Lucien” (1985) and “Assaï” (1986), Dominique Bagouet clearly established his own personality and style. All these plays registered his very particular style, sometimes referred to as ‘neobaroque', but above all very subtle and inventive. Bagouet's choreographic approach developed the dance movement with numerous short gestures (movements with hands and feet, special incline of the chest…) with terrific precision and no mannerisms.
Moreover, and this is another characteristic of Bagouet, the choreographer always managed to work with talented artists, such as Christian Boltanski, Pascal Dusapin for “Le Saut de l'ange” (1987), Tristan Murail for “Déserts d'amour” or the actress Nelly Borgeaud for the superb “Meublé sommairement” (1989) choreographically adapted from a novel by Emmanuel Bove.
He also directed two films with Charles Picq: “Tant mieux, tant mieux!” (1983) and “Dix anges, portraits”(1988), from “Le Saut de l'ange".
If a Bagouet style existed, it would also lie in this curiosity which influenced a whole generation.
His company's dancers founded in 1993 Les Carnets Bagouet, an association dedicated to preserving and passing on the choreographer's artistic heritage. They offer the repertoire to other companies and schools.
Source: Extract of “99 biographies pour comprendre la jeune danse française” in les saisons de la danse, summer 97, special issue.
More information: www.lescarnetsbagouet.org
Author, filmmaker and video artist Charles Picq entered working life in the 70s through theatre and photography. A- fter resuming his studies (Maîtrise de Linguistique - Lyon ii, Maîtrise des sciences et Techniques de la Communication - grenoble iii), he then focused on video, first in the field of fine arts at the espace Lyonnais d'art Contemporain (eLaC) and with the group « Frigo », and then in dance.
On creation of the Maison de la Danse in Lyon in 1980, he was asked to undertake a video documentation project that he has continued ever since. During the ‘80s, a decade marked in France by the explosion of contemporary dance and the development of video, he met numerous artists such as andy Degroat, Dominique Bagouet, Carolyn Carlson, régine Chopinot, susanne Linke, Joëlle Bouvier and regis Obadia, Michel Kelemenis. He worked in the creative field with installations and on-stage video, as well as in television with recorded shows, entertainment and documentaries.
His work with Dominique Bagouet (80-90) was a unique encounter. He documents his creativity, assisting with Le Crawl de Lucien and co-directing with his films Tant Mieux, Tant Mieux and 10 anges. in the 90s he became director of video development for the Maison de la Danse and worked, with the support of guy Darmet and his team, in the growing space of theatre video through several initiatives:
- He founded a video library of dance films with free public access. This was a first for France. Continuing the video documentation of theatre performances, he organised their management and storage.
- He promoted the creation of a video-bar and projection room, both dedicated to welcoming school pupils.
- He started «présentations de saisons» in pictures.
- He oversaw the DVD publication of Le tour du monde en 80 danses, a pocket video library produced by the Maison de la Danse for the educational sector.
More recently, he launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created the website numeridanse.tv, an international video library for dance online.
His main documentaries are: enchaînement, Planète Bagouet, Montpellier le saut de l'ange, Carolyn Carlson, a woman of many faces, grand ecart, Mama africa, C'est pas facile, Lyon, le pas de deux d'une ville, Le Défilé, Un rêve de cirque.
He has also produced theatre films: Song, Vu d'ici (Carolyn Carlson), Tant Mieux, Tant Mieux, 10 anges, Necesito and So schnell, (Dominique Bagouet), Im bade wannen, Flut and Wandelung (Susanne Linke), Le Cabaret Latin (Karine Saporta), La danse du temps (Régine Chopinot), Nuit Blanche (Abou Lagraa), Le Témoin (Claude Brumachon), Corps est graphique (Käfig), Seule et WMD (Françoise et Dominique Dupuy), La Veillée des abysses (James Thiérrée), Agwa (Mourad Merzouki), Fuenteovejuna (Antonio Gades), Blue Lady revistied (Carolyn Carlson).
Source : Maison de la Danse
Dance at the crossroad of the arts
Dance at the crossroad of the arts
Some shows are the meeting place of different trades. Here is a preview of some shows where the arts intersect on the stage of a choreographic piece.
Genres and styles
Genres and styles
Dance is a rather vast term, which covers a myriad of specificities. These depend on the culture of a country, on a period, on a place. This Journey proposes a visit through dance genres and styles.