“Stormheart. Or maybe it’s an airplane engine, a battlefield under assault.
Clicking heels, fidgeting steps in the dark. Or maybe it’s drumbeats.
Nocturnes like those of Chopin. Maybe, but then without a piano. The eye and the ear link together, in implacable rigor, calm and startle.
Crackling sounds of old vinyl when the light comes back. Or maybe it's the wall that's cracking, the paper that's being torn, the old cookie that's being chewed - and why not those chips that you'll have to nibble on, with your back to the wall, on a leisurely evening, or because That's all that's left.
Words to express humanity. Or perhaps just the beauty of languages, the Europe that is growing, re-sowing its roots, from north to south. Maybe it's not so bad if we don't understand them. Perhaps the names in graffiti are just examples, among a hundred others.
Black stitched with lights, which take refuge behind panels. Or perhaps it is a dark storm, the obscurantism of the centuries, crossed by brief glimmers like so many bursts of humanity. Perhaps the light pierces the black - or is it the darkness that absorbs the light? Perhaps this is the very image of balance.
Dancers in miraculous tune with a crazy management team. Or perhaps they are memories of bone and flesh, fragments of humanity stirring in a noisy gangue and informing the tiny pieces of the puzzle of life. Perhaps they are dancers, perhaps they are above all the electrons of an aesthetic dramaturgy, which seeks itself in a total spectacle.
A metonymy in chiaroscuro. Or perhaps there are, despite everything, red threads drawn into the invisible. Perhaps these thrown stones deceive the infinite juxtaposition by leading towards the pile. Perhaps these faces, reflected in mirrors or brandished in photos, belie anonymity by seeking out the individual.
Perhaps these white hands affixed to the wall - to all high walls - are imprints which remain in the eternal night..."
Extract from a text by Manon Ona, published on October 11, 2012 on lecloudanslaplanche.com
Maguy Marin was born in Toulouse in 1951 and studied dance at the conservatory there before joining the Strasbourg Ballet. In 1970 she was accepted at Maurice Béjart’s school Mudra, where she stayed three years before becoming a soloist (for four seasons) with the Ballet of the 20th Century, under the direction of Maurice Béjart. A turning point would come at the end of this period seeing her shed all her previously held conceptions “allowing a multitude of creative choices, liberty and also constraints to emerge. Nothing was ever the same”. She also began questioning the body types idealized within the dance world, a subject that would become central in her work. “With Maurice Béjart the body was magnified. Youth, virtuosity, everything sparkled. And I had a problem with that. I asked myself what happened to all those other bodies, the ones that were infirm, misshapen or uncoordinated, but who managed to keep standing nonetheless.”
Between 1980 and 1997 Maguy Marin was based at the Maison des arts in Créteil, with her company becoming an official Choreographic Centre in 1985.
From 1998 until 2011 she directed the National Choreographic Centre in Rillieux-la-Pape. After which time the company once again became independent, setting up in Toulouse in order to continue their creative research. In 2015 the company moved again, this time to Sainte Foy-lès-Lyon, where they set up in an old carpentry factory. Their tenure there would allow them to continue to open up the immaterial space of that which is shared, something that obstinately seeks to make itself manifest while encouraging the unfolding of a new ambitious project: RAMDAM, AN ART CENTRE. It is a place of horizontal sharing, dedicated to hosting artists and audience members alike. It is also a place intent on facilitating an on-going exchange and continuous circulation between those conducting research, amateurs, students, spectators and volunteers; as well as creating bridges between different artistic practices, laboratories, places for public relations, education and reflection.
- 1978: Grand Prix du Concours chorégraphique international de Bagnolet - 2003: Grand Prix de la danse du Syndicat de la critique for
Les applaudissements ne se mangent pas
- 2003: American Dance Festival Award
- 2006: Special jury prize Syndicat de la critique for Umwelt
- 2008: Bessie Award for Umwelt presented at the Joyce Theater
- 2008: Grand Prix de la danse du Syndicat de la critique for Turba
- 2011: Prix Danza & Danza for “Best Contemporary Dance Piece » for Salves - 2016: Golden Lion, Venice Biennale
More information : compagnie-maguy-marin.fr
Musician, performer and visual artist, Denis Mariotte notably collaborated, between 1989 and 2013, on numerous pieces by the choreographer Maguy Marin, whose sound creations he composed: music played on stage, electro-acoustic tapes, vocal pieces, sound devices, musical films. He quickly linked music, movement and staging to open up new avenues of artistic work. At the same time, he practices musical improvisation in a duo with Gilles Laval or Michel Mandel, and collaborates with the composer Fred Frith for two pieces, Impur and Stick Figures. Since 2005, he has produced solo pieces (Prises/reprises in 2011, Hiatus in 2018, etc.) or duos, notably with Maguy Marin (Ca nevertheless, 2004), or Renaud Golo (On could believe in what we see, 2005, generic title including different chapters).
Source: The 104
David Mambouch studied acting at the École Nationale Supérieure des Arts et Techniques du Théâtre before becoming a full-time performer with the Théâtre National Populaire. Parallel to his work with the theatre company, he also performed in films and on television and began writing and directing his own theatrical work while also collaborating on the work of others. He also continued to develop his work as a scriptwriter, writing and directing several short films such as La Grande cause, directed in collaboration with Olivier Borle. As a solo artist or in collaboration with such companies as La Katet Compagnie, La Compagnie Parc, La Compagnie Scènes, La Compagnie Zélid and Le Théâtre Oblique among others, he began exploring multi-disciplinary work in which theatre, dance, music and film intermingle. He also collaborated with the Company Maguy Marin, first as a director for the creation of the film Nocturnes and then as a performer in restagings of May B and Umwelt.
In 2014 he created the solo Singspiele in collaboration with Benjamin Lebreton and Maguy Marin. He also created the soundtrack for the performance.
Source : Naïa productions
Artistic direction / Conception : David Mambouch
Choreography : Maguy Marin et Denis Mariotte
Interpretation : Ulises Alvarez, Kaïs Chouibi, Laura Frigato, Daphné Koutsafti, Mayalen Otondo, Ennio Sammarco
Video conception : Réalisation et montage : David Mambouch ; image : Pierre Grange ; Prise de son : Philippe Vincent ; Régie Anne Ferret
Lights : Alexandre Béneteaud
Costumes : Nelly Geyres et Raphaël Lo Bello
Technical direction : Alexandre Béneteaud
Other collaborations : Éléments d’accessoires : Louise Gros
Production / Coproduction of the choreographic work : Production : Compagnie Maguy Marin ; Coproduction : Biennale de la danse de Lyon, Centre chorégraphique national de Rillieux-la-Pape / Direction Yuval Pick, Festival d’Automne à Paris, Théâtre de la Bastille, Théâtre Garonne – Toulouse, Le Parvis scène nationale Tarbes Pyrénées, Compagnie Maguy Marin
Duration : 60'