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Pas de ciel
Pas de Ciel
“Specially created for the Rencontre Danse / Image in Chateauvallon, this film is the result of the encounter, confrontation and then the almost miraculous match between the light and violent camera of Téo HERNANDEZ and the dancer-choreographer Bernardo Montet in the midst of improvisation. A body between sea and sky, the silent presence of the wind, a few birds: the elements of a fundamental mythology transformed into lyrical abstraction.”
Source: Dominique Noguez.
Bernardo Montet is currently an associate artist with the SEcW project in Morlaix and artist-in-residence at the Théâtre Louis Aragon in Tremblay-en-France. He was director of the Centre Chorégraphique National de Tours from 2003 to the end of 2011.
After a period spent at Maurice Béjart’s Mudra school in Brussels, he pursued his career with the choreographer Catherine Diverrès, and was joint director with her of the Centre Chorégraphique National de Rennes until 1998. From 1997 onwards, Bernardo Montet gathered around himself a team of loyal collaborators: Tal Beit Halachmi, Taoufiq Izeddiou, Dimitri Tsiapkinis and Marc Veh, with whom he composed a repertoire of some twenty works. Since Pain de Singe, a founding solo devised together with the filmmaker Téo Hernandez (1987), he has signed such works as, in 1997 Issê Timossé (with the complicity of Pierre Guyotat, author and reciter), in 1998 Beau Travail (in collaboration with Claire Denis), in 2001 Racine’s Bérénice (co-written with Frédéric Fisbach), and O.More (with Gnawa musicians) in 2002.
In Tours, he created nine pieces: Parcours 2C (vobiscum) (with the plastic artist Gilles Touyard) in 2004, Coupédécalé with Eran Tzur for the musical composition (2005), Les batraciens s’en vont (2006) and Batracien, l’après-midi (2007), two works produced together with Lorella Abenavoli for the electroacoustic creation, Apertae (2008), Switch me off (co-written with Thomas Ferrand, 2009), God needs sacrifice (2010), Isao, a solo written for and in collaboration with the Malagasy choreographer Gaby Saranouffi, and Des Hommes, a group work in collaboration with the historian and critic Geneviève Vincent in December 2011.
In July 2011, he was made an Officier de l'ordre des Arts et des Lettres.
In 2012, Bernardo Montet accompanied Madeleine Louarn for the show Les Oiseaux (from Aristophanes’ Birds), while at the same time working on a duo entitled (Des)incarnat(s), with one of the actors of the Atelier Catalyse, on the notion of Vulnerable.
All his pieces, buoyed up by demand and radicality, deal with subjects dear to his heart: colonialism, memory, identity, consciousness of the body, resistance, to name but a few. Each choreography springs up from the previous one to weave an image that is both similar and different: the bodies, in their poetical and political dimension, replay the world surrounding us.
Bernardo Montet also develops unusual projects with children, such as ChOral (2013), Mom’arts (2011 and 2014), and in the urban space with Pas à Pas (2013), La Marche des Anges (2007), and Veiller par le geste (2008, 2010).
More information: www.ciemawguerite.com
Both similar to yet different from Jean Rouch, Teo Hernandez (1939-1992) used a Super 8 camera, which was much more economical and lighter than the 16 mm substandard one adopted in France by “cinéma vérité” followers, when filming the town, nature, mythology, the body and dance. He edited his films directly whilst shooting, the way Jonas Mekas did, without the hassle of touch-ups or pentimento. His shots, in terms of their length, never eclipse the sequences and consist of snapshots, flashes, blinks and flickering reminiscent of structural film. Between two blurs produced by sudden zooming, the image is incredibly sharp. A distinction can be drawn between the extra-cinematic movement and what is shown, even if sporadically, by the impressionistic framing, which is astonishingly vivacious. The dancer’s momentum has little to do with the apparent agitation, which is under control, the relentless spurts, the approximate focusing around the chosen or given subject. The cinema vérité, as illustrated by Teo Hernandez, plays with the dialectics of “fraternization-alienation”, based on “aesthetics of the improvised, of awkwardness, of spontaneity”, as stated Edgar Morin. In an article from 1983, Teo Hernandez touched on the type of momentum that inspired him: “The cinema is a profound and violent impulse, a reaction of complete perception, an effort to survive and to regenerate”.
In 1985, he met Bernardo Montet whose work inspired him to make the soundtrack VITRIOL (1985) and the films Pas de ciel, coproduced by the TNDI (National Theatre of Dance and Image) of Châteauvallon, and Vloof l'aigrette ! Pain de singe (1987). Among the twenty or so productions that he can be credited for, several films stand out, such as Salomé (1976), Michel Nedjar (1978), Cristaux (1978), Nuestra Señora de Paris (1982), etc.
“Teo Hernandez was one of the key figures in the currents “école du corps” (‘body cinema’) in France in the 1970s. His prolific and protean work, mainly filmed in Super 8 format, is marked by Baroque mysticism and sensuous attention to the male body. This programme presents several rare, unreleased films emerging from the luminous symbiosis – devoted to the duende – between the cinematography of Teo Hernandez, dancing filmmaker, and the choreographic act of Bernardo Montet.”
Teo Hernandez / Bernardo Montet, Centre Pompidou, 14 October 2009
latest update: November 2014
Pas de Ciel
Artistic direction / Conception : Téo Hernandez
Choreography : Bernardo Montet
Interpretation : Bernardo Montet
Other collaborations : Laboratoires Trans Octo Vision Telcipro
Production / Coproduction of the video work : Coproduction Théâtre national de la danse et de l'image - Bernardo Montet (Studio DM) - Téo Hernandez