Keep dancing – Danser Encore
The Lyon Opera Ballet will perform soli all over the CN D, in a choreographic circuit resulting from the meeting between one different dancer and one different choreographer for each solo. “Danser Encore” wishes to reflect the diversity of contemporary creation and immerse us into a living creative process for contemporary dance. Initiated in 2020 by Lyon Opera Ballet director Julie Guibert, the “Danser Encore” cycle relies on a desire to showcase the individuality of the company’s dancers and to support choreographic creation in the difficult context of a global pandemic by banking on the fertile dialogue between choreographers and performers. From the creation of tailored soli, “Danser Encore” exposes the team work of two people and highlights how diverse contemporary creation is. After conceiving 13 original soli, the Lyon Opera Ballet will continue the project by creating more pieces that will use all the resources of the body, image and movement. Occupying the entire space of the Centre national de la danse over the course of two days, over 10 soli will be performed in the studios and the Atrium, revealing the fragility, lightness, density and particular grain of each performer and the magnitude of their desire to dance.
Self duet is a pas de deux with oneself. The dancer Katrien De Bakker treats different parts of her body as if they belonged to an external partner. This piece explores the position of our own body and the fine line between interiority and exteriority.
The body of the dancer is at the same time a goal, an object, a target, a tool, a constraint…
As in Le Grand Caprice on “Der Erlkönig” by Heinrich W. Ernst, which accompanies the piece, where the violinist plays both the piano part and the singer’s part of Franz Schubert’s lied, in Self duet, the performer splits himself and makes two partners circulate in his body and manipulate each other in turn.
Source: programmes of CND and Cndc
Born in Paris in 1987, Noé Soulier studied at the National Ballet School of Canada and PARTS in Brussels. He received a master degree in philosophy at La Sorbonne University (Paris IV) and took part in Palais de Tokyo’s residency program: Le Pavillon.
In 2010, he won the first prize of the competition Danse Élargie, organized by Le Théâtre de la Ville in Paris and Le Musée de la Danse with the trio « Little Perceptions » in which he started an ongoing research on ways of defining movement. With the solo « Movement on Movement » (2013), he dissociates gestures from speech to question how they collaborate to create meaning.
In 2014, he explored the syntax of ballet vocabulary with « Corps de ballet » for the CCN – Ballet de Lorraine. In « Movement Materials » (2014) and « Removing » (2015), he develops further the research initiated with Little perceptions on the perception and interpretation of movement.
In October 2016, he publishes « Actions, mouvements et gestes », a choreographic research that takes the form of a book, with the press of the Centre national de la danse.
In July 2020, he has taken over the direction of the Centre national de danse contemporaine d’Angers (CNDC).
Source: CNDC Angers
Centre national de la danse, Réalisation
Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).
Le Ballet de l'Opéra de Lyon
As early as 1969, when arriving at the head of the “Opéra Nouveau de Lyon”, Louis Erlo gave a key place to dance. For the first time, an opera house outside of Paris consecrated to its ballet company entire events devoted to dance. Ever since, it has never stopped opening up to every kind of source, be it a stream or a river, close or far, harmonious or stormy. But, whatever the case, always talented. Right from the start, the Ballet de l’Opéra de Lyon has lived out this vivifying opening to the world, with its first directors, the Italian Vittorio Biagi, then the Yugoslav Milko Speremblek and the New-Zealander Gray Veredon, who were all in the neo-classical, Béjartian movement of the times.
But, as of 1985, it was Françoise Adret who gave the company a resolutely plural turn. “Mère Adret” as her dancers affectionately called her, had an eye, the gift of the gab and a large address book. Above all, Française had travelled widely and her mission was to give the troop a national and international dimension. She built up a repertory based on a twofold spectrum: great international choreographers who were still little demanded, (and not the least of them, including Jiří Kylián, Mats Ek, Nacho Duato or William Forsythe) and an opportunity given to “young French dance” (Mathilde Monnier, Maryse Delente, or Angelin Preljocaj)… In any troop, there are moments of grace. But, in Lyon, a lightning bolt was to change the course of history. In 1985, no one imagined that a magical doll (Maguy Marin’s Snow White) would provide the company with a world tour, with no fewer than three trips to the USA in just 1987… Three years later, Lyon did it again by creating the famous rereading of Romeo and Juliet by Angelin Prejlocaj. This was a fresh challenge (and, for the choreographer, his first important commission), and another memorable piece. The die was now cast … When, in 1991, the Greek ballet-master and director Yorkos Loukos replaced Françoise Adret, the trend was set and has continued to thrive until today, with an extremely open-minded “choreographic” palette. Maguy Marin, who had become resident choreographer, set off even more sparks when, in 1993, she inaugurated the new Opéra de Lyon with an offbeat version of Coppélia set in a popular bar in the suburbs of Lyon. With turnings-back towards the history of dance, views of the contemporary scene, visions of what it will be tomorrow, a plurality of styles, the ages of the choreographers, their origins, and backgrounds, the strength of the Ballet de l’Opéra de Lyon comes from the very absence of any particularity, except if it is the highly diverse repertory as sought out by Yorgos Loukos. It goes without saying that it attracts the public (who love novelty) and today’s young dancers, who like and are used to changes of style. Even the teachers are in constant motion, changing every month, so as to avoid any routine.
Today, the company has a repertory of 117 pieces, over half of which are creations. A list of the choreographers who have worked in Lyon is a reminder of the importance of the pioneers of new French dance (Mathilde Monnier, Jean-Claude Gallotta) and its young cousins (from Jérôme Bel to Christian Rizzo, Alain Buffard or Rachid Ouramdane). It also means meeting the guiding lights of modern American dance (Trisha Brown, Merce Cunningham, Lucinda Childs), from post-classic energy (William Forsythe, Benjamin Millepied) to the "next wave" (such as Otto Ramstad). It means exploring Belgian musicality (de Keersmaeker) Swedish theatricality (Mats Ek), Czech lyricism (Jiří Kylián), or Israeli power (Ohad Naharin, Emanuel Gat). It means getting used to seeing new talents (Tania Carvalho, Alessandro Sciarroni, Marina Mascarell..). It means… being at the confluences of a dance that has never been so open to the world.
Source: Opéra de Lyon 's website
More information : opera-lyon.com
Choreography : Noé Soulier
Interpretation : Katrien de Bakker
Additionnal music : Grand Caprice sur Le roi des Aulnes Op. 26, de Heinrich Ernst
Production / Coproduction of the video work : Enregistré au CND le 14 octobre 2022 dans le cadre de "Danser encore", un parcours chorégraphique composé de solos et proposé par le Ballet de l'Opéra de Lyon