“Notre amour” (2009) is a documentary by Arnold Pasquier on the creative work of Christian Rizzo’s piece, "Mon amour", created at the Opéra de Lille on February 28th, 2008. It was shot at the CNDC d'Angers, the Chaufferie de Saint-Denis, and the Opéra de Lille - January - March 2008.
"Arnold Pasquier films the rehearsals and performances of a show by Christian Rizzo, ”Mon amour”. Bodies that walk, embrace and embrace each other, find themselves, experiment; faces at work, beautiful, focused and laughing, painted with sequins, masked by a coloured tulle falling from their hoods ; plants in pots, smoke, black globes : a mysterious world with a series of senseless actions. Pretending to restore order, the choreographer pops up here and there, the artisan of this potential community, whose members brush against each other and seek to reunite. We hear Mark Tompkins’ song: grave like a preacher, he leads us towards the wondrous outcome, the fable, springing from the volutes. A dancer challenges someone: himself? his friends? us? It is in the hollow of solitudes that Our love alights, lulled by a whispered song, “oh my love, oh my love… “."
Remark by the videographer (2019) :
"The filming followed the rehearsal schedule of Christian Rizzo’s choreographic show “Mon amour”. For three months, in three places (two studios and the theatre stage), the seven interpreters, the singer, and the musicians invented the show. I filmed everything, or almost. Dance, song, music, the stage set. All quickly brought together by the choreographer who needs to work in confrontation with all these elements. Then, by adding, taking away, shifting, the show takes shape. I quickly identify what interests me. I single out motifs that I find again day in day out. The group as a block, walking, tenderness, repeated embraces, expressions. Black balls, plants, chairs, and the table of the stage set, before the fog pours in and builds new dramatic spaces. While filming, I’m excited about the narrative dimension of the choreographic proposals. The singling out of faces and the quality of Christian Rizzo’s dance open up wide territories of fiction. I asked a writer, Julien Thèves, after showing him the group at work in Saint-Denis, to write a scene that would end the documentary. For me this was a means of “doing something” with this impression of fiction and gave me a lead for constructing the future film, enlightened by this narrative counterpoint. Julien suggested an encounter in an apartment where the arguments of choreographic material would be briefly played out. A dancer’s monologue becomes a kind of medium and makes the months of work by the team and the dream of collective creation appear as a blissful interlude. A female singer, appearing out of nowhere, interprets a cappella, seated on the edge of a sofa, like a cat, a final song that concludes the amorous journey. For the more “documentary” part, I filmed close up to the dancers, sometimes holding my camera in my hand, which allowed me proximity with the movement. Then, on foot, around the stage, at a distance and often at long focal length, to isolate and follow by panning shots the circulation of the bodies. This method, in that it isolates movement, makes it somewhat abstract, but the graphic energy given off seems to me an accurate representation of the choreographic power. This proximity is expanded by wider shots that amply show the space of the stage. It is by accumulating perspectives in the same sequence, collected day by day, that I give the idea of the choreography. The repetition of the gestures corrected and transformed gives the temporality of the work, which, while not respected chronologically, is structured by association. Along the way, we add the stage set, costumes and music, we lose make-up and accessories.
While I was editing my film, I was no longer certain who, out of Christian Rizzo and myself, was the most “abstract” and who was the most “sentimental”. But, after all, what does it matter? Are we not like those figures walking at the start of the show, following routes that are so certain and yet so futile, along which, nevertheless, some genuine moments of happiness may emerge. It is of such fleeting flares, as certain as they are elusive, that I would like “Notre amour” to speak.
Christian Rizzo was born in 1965 in Cannes. His artistic career began in Toulouse, where he started a rock band and designed a line of clothing, after which he studied fine arts at the Villa d'Arson in Nice, then unexpectedly branched out into dance.
In the 90s he performed with a number of contemporary choreographers including mathilde monnier, herve robbe, mark tompkins and georges appaix, and sometimes created soundtracks and costumes for them as well.
He also worked with choreographers with a different artistic approach, such as vera mantero, catherine contour, emmanuelle huynh and rachid ouramdane.
In 1996 he founded l'association fragile and began presenting events, dancing objects, solos and group pieces, as well as various projects and commissioned work in fashion and the visual arts.
Since then, over thirty projects have borne fruit, not counting his pedagogical activities. Christian rizzo teaches on a regular basis in art schools in France and abroad, as well as in establishments devoted to contemporary dance.
On January 1st, 2015, Christian Rizzo takes the lead of the National Choreographic Center of Montpellier. Now called ICI (International Choreographic Institute), the CCN offers a transversal vision of creation, training, artistic education and openness to the public.
Source : Website of ICI, CCN of Montpellier
More information :
Arnold Pasquier was born in Paris in 1968. After studying visual arts and cinema, he made tests in Super 8 and video, in which he developed a world of filmed newspapers and fictions. At the age of twenty, he approaches contemporary dance and collaborates with choreographers as documentarist and dancer. This experience marks the realization of a work where dance holds an important place.
From 1997 to 1999, he was received as a resident artist at the Fresnoy (Tourcoing, France) where he designed the installation "C'est ici que j'avais des baisers" (1997-1999) and produced about twenty short films, four radio design workshops For France Culture and dance performances capturing. In 1999, he presented the show "C'est merveilleux" in the Grande Nef du Fresnoy. He is the author of numerous films (fiction, documentary, video art), staged shows, scenographies, radio broadcasts. His work is articulated at the crossroads of these different disciplines. Winner of a residence Villa Médicis Hors les Murs (outside the wall) in Sao Paulo in 2004, he dances for Julie Desprairies in "La danse en accès accès", "Vue sur la mer" and "Là commence le ciel". He co-signs with her the video-dance installation "Les 3 contents", the result of the residence of the choreographer at the Manufacture de Sèvres (France).
Source: Website of the Compagnie des prairies
More information https://arnoldpasquier.com
Choreography : Christian Rizzo
Interpretation : Philippe Chosson, Christine Bombal, Pep Garrigues, Kerem Gelebek, Wouter Krokaert, I-fang Lin, Tamar Shelef, Mark Tompkins
Stage direction : Christian Rizzo
Text : Monologue de Wouter Julien Thèves
Original music : Didier Ambact, Bruno Chevillon, Gérôme Nox - Avec l'aimable participation de Barbara Carlotti
Video conception : Image, montage : Arnold Pasquier - Prise de son musique & montage son : Greg Le Maître - Mixage : Nicolas Joly (Centre Pompidou) - Conformation : Florent Le Duc (Le Fresnoy)
Costumes : Christian Rizzo
Production / Coproduction of the video work : Arnold Pasquier, Les Films de la Liberté, Arnold Pasquier Participation : Association Fragile, Vidéodanse (Centre Pompidou), Le Fresnoy/Studio national des arts contemporains.
Duration : 45'