Parades & changes, replays
Parades & changes, replays
1965: Parades & Changes, the first-ever collective creation to be named as such by Anna Halprin, was the result of experimentation that she had undertaken since the late 1940s on performance and improvisation.
This major piece of work focuses on the banality of everyday gestures such as getting dressed or getting undressed. The performance ends with the dancers wrapped in a gigantic sheet of flesh-coloured paper that gets crumbled and torn in total silence. This staging of nudity led to the show being banned in the United States for twenty years. Created in partnership with the composer, Morton Subotnick, the composition of this work is based on a complex score that provides its structure with total flexibility, and offers artists from several disciplines the opportunity to work hand-in-hand. 2008: As regards Parades & Changes, Replays, Anne Collod initiated collaboration with Anna Halprin and Morton Subotnick, the composer and co-creator of the 1965 work. Two other choreographers, Alain Buffard and Boaz Barkan, who had participated in the American choreographer's work for many years and who know her work extremely well, joined the trio, along with Boris Charmatz, Vera Mantero and DD Dorvillier. Each of them was eager to experience the work of Anna Halprin and her latest developments.
“The question: “What opportunities for togetherness does dance invent?” is one of those that have been guiding my creative and research work for several years. It was this question that led me to meet Anna Halprin, an extraordinary woman, a pioneering choreographer whose work provides the answers for a humanity burning with this wondering. It was also the catalyst for the project that we are talking about here, and furthered my desire to work specifically on this piece from 1965, which shattered the codes that existed in dance and its performance at that time: parades & changes. What effects can be produced when the multiple scenarios of this piece of work are put back into play, in another period of time and in other places, by actors of today who are directly concerned by the issues that touch the contemporary world? How can we create the conditions so that the exchange between Anna Halprin and a new generation of dancers and choreographers will be fruitful? A myriad of challenges at the heart of the parades & changes, replays project.”
Sources : Anne Collod, Biennale de la danse 2008 press book
Since the late 1930s Anna Halprin has been creating revolutionary directions for dance, inspiring artists in all fields. Through her students Trisha Brown, Yvonne Rainer, and Simone Forti, Anna strongly influenced New York’s Judson Dance Theater, one of the seedbeds of postmodern dance. Defying traditional notions of dance, Anna has extended its boundaries to address social issues, build community, foster both physical and emotional healing, and connect people to nature. In response to the racial unrest of the 1960s, she brought together a group of all-black and a group of all-white dancers in a collaborative performance, Ceremony of Us. She then formed the first multiracial dance company and increasingly focused on social justice themes. When she was diagnosed with cancer in the early 1970s, she used dance as part of her healing process and subsequently created innovative dance programs for cancer and AIDS patients.
With her husband, the landscape architect Lawrence Halprin, Anna developed methods of generating collective creativity. During the late 1960s and early 70s, they led a series of workshops called “Experiments in the Environment,” bringing dancers, architects, and other artists together and exploring group creativity in relation to awareness of the environment, in both rural and urban settings. Increasingly, Anna’s performances moved out of the theater and into the community, helping people address social and emotional concerns.
Over her long career Anna has created more than 150 dance theater works and written three books. Many of her dances have grown out of her life experiences. After her husband faced a life-threatening crisis, for instance, she developed the performance Intensive Care: Reflections on Death and Dying (2000). Facing her own aging, she worked with older people in her community to evolve "Seniors Rocking" (2005), performed by over 50 elders outdoors in rocking chairs. To honor the memory of her husband, she created a trilogy, including "Spirit of Place", a site-specific work in an outdoor theater space he had designed (performed in 2009, shortly before his death). In 2013 she revisited her groundbreaking "Parades and Changes" (1965), retaining its essence but adding new sections to heighten its relevance for today’s world.
Source: Anna Halprin 's website
More information :
Initially graduated in biology and environmental science, Anne Collod is a French contemporary dancer and choreographer.
She performed with different French choreographers (Philippe Découflé, Stéphanie Aubin, Fabrice Ramalingom, etc.) and co-founded the Quatuor Albrecht Knust (1993-2001), a collective of dancers dedicated to the re-enactment of early 20th-century choreographic works and focused on performance presentation, pedagogy and research. She namely reenacted in this frame Nijinski’s legendary piece The Afternoon of a Faun.
In 2001, while continuing to participate as a performer or a collaborator in various dance projects, she began research exploring the notion of « being together » in dance, which led her to meet in 2003 in San-Francisco the American choreographer, pioneer of post-modern dance Anna Halprin, with whom she has worked episodically since. She presented in 2008 the reinterpretation of one of Halprin’s masterpieces, « Parades & Changes » (1965). This work, « parades & changes, replays », followed by a new version, « parades & changes, replay in expansion » (2010), has toured intensively since 2008 in France and abroad (USA, Korea, Southern and Northern Europe), and won a Bessie Award in New-York in 2009.
In 2011, Anne Collod lead artistic research about the Dances of the Dead and was the recipient of the French Ministry of Culture program “Aide à la recherche” and of the French Institute program « Résidence Hors les Murs ». This research brought her namely to Mexico and to Japan and led her to create in 2014 The Parliament of the invisibles, a piece about the links between those who are gone – beings and works of art- and the living, haunted by a German Danse Macabre from the 30s.
She’s also interested in in-situ creation and proposed in collaboration with the French graphic designer Mathias Poisson (faire) cabane, a project for a choir of amateurs and wooden elements that creates moving and ephemeral huts.
She’s preparing for 2016-2017 a new creation, an immersive choreographic, sound and light project entitled « Exposure », questioning energy transfers between a performer and an industrial environment.
Furthermore, she’s a founding member of the Collective Dingdongdong who gathers artists and researchers to create a new way of describing and experiencing a neurological disease, Huntington’s disease.
She is also regularly invited to teach in different schools and dance programs, and is trained in the Feldenkraïs method.
Anne Collod is artist in residency at La Briqueterie/Centre de Développement Chorégraphique du Val de Marne/France until 2017.
Source : Anne Collod 's website
More information : annecollod.com
Author, filmmaker and video artist Charles Picq (1952-2012) 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.
- He launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created Numeridanse.
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 de Lyon
Parades & changes, replays
Artistic direction / Conception : Anne Collod en dialogue avec Anna Halprin
Artistic direction assistance / Conception : Cécile Proust (coordination artistique)
Interpretation : Boaz Barkan, Nuno Bizarro, Alain Buffard, Anne Collod, DD Dorvillier, Vera Mantero
Set design : Misa Ishibashi
Original music : Morton Subotnick assisté de Sébastien Roux
Lights : Mikko Hynninen
Costumes : Misa Ishibashi
Technical direction : Nicolas Barrot
Sound : Nicolas Barrot
Other collaborations : Mathias Poisson et Anne Collod (élaboration graphique des partitions)
Production / Coproduction of the choreographic work : Camille Desjardins, Marie Roche, Henri-Jules Julien (chargés de production) ; ...& alters - Coproduction : Festival d'Automne à Paris, Les Spectacles vivants - Centre Georges Pompidou, Biennale de la Danse de Lyon, CNDC d'Angers, Manège de Reims - Scène Nationale, CCN de Montpellier Languedoc Roussillon ; Avec le soutien de : Culturgest Lisbonne et Le Vivat Scène conventionnée d'Armentières, Micadanses Paris pour le prêt du théâtre et des studios - Et de : Fondation Beaumarchais, Culturesfrance, Consulat de France à New York, Consulat de France à San Francisco
Production / Coproduction of the video work : Biennale de la Danse, Maison de la Danse de lyon