Retrospective: 1987
2015
Choreographer(s) : Lefèvre, Brigitte (France) Caciuleanu, Gigi (Romania) Saporta, Karine (France) Nadj, Josef (Hungary)
Present in collection(s): Numeridanse , 30 ans danse - Version Française
Video producer : 24images production
Retrospective: 1987
2015
Choreographer(s) : Lefèvre, Brigitte (France) Caciuleanu, Gigi (Romania) Saporta, Karine (France) Nadj, Josef (Hungary)
Present in collection(s): Numeridanse , 30 ans danse - Version Française
Video producer : 24images production
Retrospective: 1987
On the occasion of the 30th anniversary of the National Choreographic Centers, 30 pastilles which evoke, through an archival montage, the history of the NCCs, choreographers and dance in France over the past 30 years have been created.
Focus on the year 1987 and the productions of the Ballet de Lorraine, Brigitte Lefèvre, Gigi Caciuleanu, Karine Saporta and Josef Nadj.
Lefèvre, Brigitte
Brigitte Lefèvre joined the Paris Opera Ballet School at the age of eight and entered the corps de ballet at the age of sixteen. During her years at the Opera she studied with Yvette Chauviré, Gérard Mulys, Serge Peretti, Yves Brieux, Rita Thalia, Janine Schwarz, Serge Perrault and Raymond Franchetti, dancing in ballets by George Balanchine, Roland Petit, Maurice Béjart, Michel Descombey and Gene Kelly, as well as in the major classical works.
Interested from early on in different techniques of dance, Brigitte Lefèvre studied jazz with Gene Robinson and participated in numerous courses given by Alwin Nikolaïs, Merce Cunningham and Paul Taylor.
In 1970 she choreographed her first work, Mikrocosmos (to music by Bartok), for Jacques Garnier, Michaël Denard and herself. The ballet was presented at the Avignon Festival, in the Cour d’honneur.
She has also worked for the theatre and for musical comedy – in productions by Jean-Michel Ribes, Jean Mercure and Serge Peyrat at the Théâtre de la Ville.
She also created the choreography for La Révolution Française at the Palais des Sports in Paris and made her debut as an actress in the role of Lisa, in Dostoïevsky’s The Possessed, directed by Jean Mercure at the Théâtre de la Ville in Paris.
She left the Opera in 1972 to found the « Théâtre du Silence » together with Jacques Garnier. Situated in La Rochelle between 1974 and 1985, this was to be one of the first regionally-based companies in France. In addition to works by Jacques Garnier and Brigitte Lefèvre, the choreographies of Merce Cunningham, Lar Lubovitch, David Gordon and Robert Kovich came to enrich the company’s repertoire. They toured extensively (visiting twenty-one countries worldwide). Greatly interested in teaching, Brigitte Lefèvre gave both classical and contemporary classes within the company (which she directed single-handed from 1980 onwards), as well as running various courses.
In 1985, she was appointed Principal Inspector of Dance for the Ministry of Culture and, in 1987, promoted to General Inspector and Chief Dance Delegate.
In September 1992, she was appointed General Administrator of the Paris Opéra-Garnier and, in February 1994, Associate Director, Head of Dance. In August 1995, she was made Director of Dance at the Paris Opera.
Since her appointment, Brigitte Lefèvre has set out to create a living repertoire rhyming not only with the past and the present but also with the future.
Whilst reserving a special place for traditional works and the great classical ballets – including the productions of Rudolph Nureyev – she regularly includes in the Paris Opera season works that have marked the 20th century and invites contemporary choreographers to revive ballets or create new works. Hence, since 1995, several works have joined the Paris Opera Ballet's repertoire (The Rite of Spring in 1997 and Orphée et Eurydice in 2005 by Pina Bausch , Glacial Decoy by Trisha Brown in 2003, La Dame aux camélias in 2006 and Troisième Symphonie de Gustav Mahler in 2009 by John Neumeier...) and numerous choreographers have created works for the company (Maurice Béjart, Trisha Brown, Mats Ek, William Forsythe, Jirí Kylián, Blanca Li, Wayne McGregor, Benjamin Millepied, José Montalvo, John Neumeier, Robyn Orlin, Roland Petit, Angelin Preljocaj, Saburo Teshigawara, Sasha Waltz…).
Brigitte Lefèvre is Vice President of the Conservatoire national supérieur de musique et de danse de Paris, Administrator of the Centre National de la Danse (since 1998), and Administrator of La Société Radio France (since September 2004).
Source: Medici.tv
Caciuleanu, Gigi
Born in 1947 in Romania, of parents of Greek and Russian origin, Gigi Caciuleanu began dancing at the age of four. Five years later, he joined the National School of Choreography in Bucharest for an eight-year cycle, during which he discovered contemporary dance with Miriam Raducanu. This emblematic figure of the new Romanian dance in charge of the "Art of the Actor" classes introduces its students to an alternative approach to dance. At the end of the official teaching cycle, he was admitted to the Bucharest National Opera, where he quickly gained soloists' roles after having perfected the Bolshoi (Moscow). There he meets the soloist Ruxandra Racovitza, a faithful collaborator to come.
Taking advantage of a flurry in the discipline of the regime that precedes the hardening following the Spring of Prague (1968), Gigi Caciuleanu performs in alternative clubs in Bucharest with Miriam Raducanu. It is in this period of underground excitement that he meets Dan Mastacan, another loyal collaborator.
He began his career as a choreographer, obtaining in 1970 the first prize at the Rencontres chorégraphiques de Varna with Mess around, a solo that he never stopped dancing and which would be his "hit". He won the Concours des Jeunes Chorégraphes de Cologne for two consecutive years, in 1971 and 1972. At the invitation of Pina Bausch he joined the Folkwang Ballet Essen (1972-1973) and composed a dozen pieces for students of the Folkwang Hochschule. He then moved to France, where he was granted political asylum.
In Nancy, Gigi Caciuleanu created the Contemporary Dance Studio in 1973 alongside Rosella Hightower before succeeding him at the direction of the Ballet of the Grand Théâtre de Nancy the following year in which he invited choreographers such as Dominique Bagouet, Jacques Garnier or Maguy Marin. The same year 1974, he won the first prize of the choreographic competition of Bagnolet with his solo Joie.
Named director of the National Choreographic Center of Rennes created under the name of Choreographic Theater of Rennes in 1978, he is called to constitute a permanent company, faithful interpreter of his creations played around the world (Asia, North and South America, Europe ). Figure of the choreographic surge that France experienced in the 1980s, the choreographer combines a technique close to virtuosity to an unprecedented theatricality and humor.
Thanks in 1993, he left the direction of the CCN Rennes after fifteen years of presence in this city, giving way to Catherine Diverrès and Bernardo Montet. He then founds his own structure sitting in Paris, subsidized by the Ministry of Culture.
After the fall of the Berlin Wall, G. Caciuleanu made many trips to Romania, solicited from all sides by the Romanian scene. In 2001, he invested the theatrical writing with the play "Jungle X" whose staging is hosted by a puppet theater of the city of Targu Mures (Romania), an art that he considers the equal of the dance and theater. In 2007, he founded the Gigi Caciuleanu Romanian Dance Company in Bucharest, which performs his creations "OuiBaDa" and "The Fanstastic Symphony".
Invited to choreograph for other companies, his international activity gradually became dominant and, in 2001, Gigi Caciuleanu accepted the artistic direction of the Ballet Nacional Chileno (Banch).
In parallel, Gigi Caciuleanu publishes in 2002 an essay of "choreosophy" entitled VVV: winds, volumes, vectors, first in Spanish then in Romanian (2008) and French (2010) translation, a book in which he wishes to convey his principles creators.
Distinguished by numerous awards and decorations in France and abroad, Gigi Caciuleanu was named Chevalier des Arts et Lettres in 1984. His creations are written in the repertoire of the Paris Opera Ballet, Lyon Opera Ballet, Tanztheather Wuppertal-Pina Bausch, La Fenice, operas in Rome and Cardiff, the Bat-Dor Company (Israel), and the National Ballet of Chile.
Source : Centre national de la danse, Claire Delcroix (2013)
Saporta, Karine
Karine Saporta is a Chevalier de la Légion d'Honneur and an Officier des Arts et des Lettres. She founded the Association des Centre Chorégraphiques Nationaux of which she is the first President. She was elected for the second time President of the Dance Commission and Vice-President of the Société des Auteurs et Compositeurs Dramatiques (SACD - Society of Dramatic Authors and Composers) in 2004.
Right from the start, Karine Saporta defended at the highest level the artistic values responsible for her recognition and approval by the most eminent specialists as one of the leading figures of contemporary art today.
She has been welcomed in all major dance venues, in France and abroad, with very many choreographies.
At the cutting edge of research into the body and the work of emotion in the dancer, she has revealed highly personal work methods.
Improvisation and technique but also reflection on dance themes and history form the foundations of Karine Saporta’s artistic and intellectual approach.
Her art is made up of baroque or dreamlike worlds, harbouring figures of flesh and wax, of giddiness of the senses and troubled hearts, of flamboyant pictorial images.
From the Hispanic universe of the “Taureaux de Chimène” to the gothic images of “La princesse de Milan” or of the show “Le Spectre ou les Manèges du ciel”, not to mention the cinematographic form of certain productions such as “Le Bal du siècle” created at the Festival International du Film de Cannes in tribute to the centenary of cinema, or “Wild”, the choreographer shapes as much as a personal style the new forms of the performing arts.
Nadj, Josef
Josef Nadj was born in 1957 in Kanjiza, a province of Vojvodina in the former Yugoslavia, in what is today Serbia. Beginning in childhood, he drew, practiced wrestling, accordeon, soccer and chess, intending a career in painting. Between the ages of 15 and 18, he studied at the fine arts high school of Novi Sad (the capital of Vojvodina), followed by 15 months of military service in Bosnia-Herzegovina.
Afterwards, he left to study art history and music at the Academy of Fine Arts and at the University of Budapest, where he also began studying physical expression and acting.
In 1980, he left for Paris to continue his training with Marcel Marceau, Etienne Ducroux. Simultaneously he discovered modern dance, at the time in a period of swift expansion in France. He followed the teachings of Larri Leong (who combined dance, kimomichi and aidido) and Yves Cassati, also taking classes in tai-chi, butoh and contact improvisation (with Mark Tompkins), began himself to teach the movement arts in 1983 (in France and Hungary), and participated as a performer in works by Sidonie Rochon (Papier froissé, 1984), Mark Tompkins (Trahison Men, 1985), Catherine Diverrès (l’Arbitre des élégances, 1988) and François Verret (Illusion comique and La, commissioned by the GRCOP, 1986).
In 1986 he founded his company, Théâtre JEL – “jel” meaning “sign” in Hungarian – and created his first work, Canard Pékinois, presented in 1987 at the Théâtre de la Bastille and remounted the following year at the Théâtre de la Ville in Paris.
Up to now, he is the author of about thirty performances.
In 1982, Josef Nadj completely abandoned drawing and painting to dedicate himself fully to dance, and would not begin showing his work again until fifteen years later. But in 1989 he began practicing photography, pursuing it without interruption to the present. Since 1996, his visual arts and graphic works, most often conceived in cycles or series – sculpture-installations, drawings, photos – have been regularly exhibited in galleries and theatres.
In 2006, Josef Nadj was Associated Artist for the 60th Festival of Avignon, presenting Asobu as the festival's opening performance in the Court of Honour of the Palais des Papes, as well as Paso doble, a performance created in collaboration with the painter Miquel Barcelo at the Celestins Church. In July 2010, he returned to present Les Corbeaux, a duet with Akosh zelevényi.
To mark the 150th anniversary of the birth of Anton Chekhov, Valery Shadrin, director of the Chekhov International Theatre Festival and Artistic Director of the Year 2010 France-Russia, invited Josef Nadj for the creation of a show dedicated to the playwright, which was performed in Moscow and St. Petersburg.
Josef Nadj was present at the Prague Quadrennial of 16 to 26 June 2011. TheQuadrennial held in Prague since 1967, is the most famous event in the world for performing arts. More than sixty countries attended this year. Josef Nadj was selected to participate in the project "Intersection" based on intimacy and performance. An ephemeral village was created, which consisted of boxes (“white cubes / black boxes") that stood for thirty world-renowned artists, each one represented by a different box. Since 1995, Josef Nadj has been the director of the Centre Chorégraphique National d’Orléans.
Source : Josef Nadj
En savoir plus : http://josefnadj.com/
Aucun Résultat