Skip to main content
Back to search
  • Add to playlist

So Schnell

So Schnell

So Schnell

With all its advantages and drawbacks, “commissioning” is enjoying new favor in contemporary art. By creating “So Schnell” (1990) for the inauguration of the Montpellier Corum, Dominique Bagouet has followed in this tradition, once held in such high esteem by Roland Barthes. The Groundrule: to come to grips with a vast, spectacular space. Bagouet plays the game while ignoring the rules, turning this experience into a work of energy and resistance. With the collaboration of twelve dancers.

As opposed to the company's usual artistic bent, the details here are meant to serve the totality (but a totality which still accomodates the perfection of detail). They work toward spaciousness, not as dimension but rather as emotion. A combative form of dance, setting in motion new forward thrusts, new deployments. A multi-faceted form of dance, in blasts, in outpourings, in flames. With variations in scale and temperature. Between the confidence of a dancer inventing his gestures and the forward march toward the audience of a well-ordered battalion. Between the momentum of a gallop and the apparent calm of an opening duo, a muted detonator in which the artist-meteor implodes. Sensual, moving matter. In the words of the choreographer : “Desire is our motor force”.

And because he wants to give the dance a strong, distinguishing mark, he imagines the swelling of contour found in Pop Art, in Lichtenstein or Rosenquist. This careful engraver of “elusive” dances traces a lively work in stark outline. All the while insisting on the near-mechanical duplication of motifs. Consistent with the “meteorology” of this dance-landscape, Christine Le Moigne has constructed a mobile overhanging frieze of alternating clouds, suns, rays and storms, like a heavenly weather forecast chart. Using the five primary colours, Dominique Fabrègue has created simplistic costumes, purposely lacking detail.

The choreographer then introduces revealing, meaningful sounds out of his memory. Bach first of all, accentuated, rhythmic as a heartbeat. And the Cantata BWV 26, climatic, that too, with its swelling of volume, of intensity, its subtle effects. In the simplicity of a version pre-dating current restorations. “So fast”..., ”so schnell”... how the German language sighs since the long-gone days of Baroque “vanities”! Is it a simple complaint against the passing of time? Today's artist can translate it in urgent terms, with an impatience to challenge despondency.

Using a smaller number of dancers, the work proceeds on two levels, collective and intimate, group and individual, with occasional flashes of oblique allegory. And Bagouet continues to explore his autobiography of the soul, woven like nerve-tissue in a network of gesture. There is also a metallic undertow of knitting machines, recorded at his family factory. Inarticulate murmuring like a language without words, buried in memory. Childhood noises beating out of the rhythm of his lost steps. Telling of that which the choreographic act brings alive in each of us: the interior cartography that a forgotten “mark” never stops engraving. Retracing the indelible journey carried in our bodies.


Source: Laurence Louppe -  Octobre 1992

Bagouet, Dominique

Angoulême, July 9 1951 - Montpellier, December 9 1992

From 1965, Dominique Bagouet received a classical instruction from Rosella Hightower in Cannes, and was firstly engaged in the Ballet du Grand Théâtre of Geneva at Alfonso Cata's in 1969. He danced the following year with the Félix Blaska's company and joined Béjart's 20th Century Ballet in Brussels. The experience lasted two years and continued with the Chandra group (where Maguy Marin also worked).

Back to Paris in 1974, Dominique Bagouet took tuitions with Carolyn Carlson and Peter Goss. He also danced in the Joseph Russillo's, Anne Béranger's and Peter Goss' companies. Then he left for the United States where he discovered with Jennifer Muller, Lar Lubovitch and others, the techniques of the American schools.

Back to France in 1976, he presented his first choreography “Chansons de nuit” at the Concours de Bagnolet and won the first prize with a mention for research. He then founded his first company. He created play after play, at a fast pace he deplored, in order to make his company survive. Until 1979, he created 14 plays, sometimes hastily and unsatisfactorily.

With “Sous la blafarde”, the young choreographer began to stand out and Montpellier became his haven: the town welcomed the company and gave it the resources to exist as Bagouet was asked to set up and run the Centre Chorégraphique Régional de Montpellier. Besides, he was to create in this town the Festival International Montpellier Danse that he would run until 1982.

Dominique Bagouet created then some of the most outstanding plays in French contemporary choreography, from “Insaisies” (1982) to “Necesito, pièce pour grenade” (1991), the last commission written to celebrate the 500th anniversary of the Spanish town.

With plays such as “Déserts d'amour” (1984), “Le Crawl de Lucien” (1985) and “Assaï” (1986), Dominique Bagouet clearly established his own personality and style. All these plays registered his very particular style, sometimes referred to as ‘neobaroque', but above all very subtle and inventive. Bagouet's choreographic approach developed the dance movement with numerous short gestures (movements with hands and feet, special incline of the chest…) with terrific precision and no mannerisms.

Moreover, and this is another characteristic of Bagouet, the choreographer always managed to work with talented artists, such as Christian Boltanski, Pascal Dusapin for “Le Saut de l'ange” (1987), Tristan Murail for “Déserts d'amour” or the actress Nelly Borgeaud for the superb “Meublé sommairement” (1989) choreographically adapted from a novel by Emmanuel Bove.

He also directed two films with Charles Picq: “Tant mieux, tant mieux!” (1983) and “Dix anges, portraits”(1988), from “Le Saut de l'ange".

If a Bagouet style existed, it would also lie in this curiosity which influenced a whole generation.

His company's dancers founded in 1993 Les Carnets Bagouet, an association dedicated to preserving and passing on the choreographer's artistic heritage. They offer the repertoire to other companies and schools.


Source: Extract of “99 biographies pour comprendre la jeune danse française” in les saisons de la danse, summer 97, special issue.


More information: www.lescarnetsbagouet.org

Picq, Charles

Author, filmmaker and video artist Charles Picq 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.

More recently, he launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created the website numeridanse.tv, an international video library for dance online.

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

So Schnell

Choreography : Dominique Bagouet

Choreography assistance : Anne Abeille

Interpretation : Rita Cioffi, Priscilla Danton, Matthieu Doze, Olivia Grandville, Nicolas Héritier, Dominique Jégou, Myriam Lebreton, Catherine Legrand, Sylvain Prunenec, Annabelle Pulcini, Fabrice Ramalingom, Juan Manuel Vicente

Set design : Christine Le Moigne

Additionnal music : Jean-Sébastien Bach, Laurent Gachet

Lights : Manuel Bernard

Costumes : Dominique Fabrègue

Other collaborations : Création le 6 décembre 1990 à l'Opéra Berlioz de Montpellier / Deuxième version créée le 11 octobre 1992 au Théâtre municipal de Montpellier / Enregistré en mai 1993 à La Coursive, scène nationale de La Rochelle

Production / Coproduction of the choreographic work : Agat Films et cie, Les Carnets Bagouet, La Coursive, Centre Georges Pompidou, CNC, Adami, Conseil régional Languedoc Roussillon, Maison de la Danse, La Sept/Arte

Our videos suggestions
04:27

Act

Act (Germany)

  • Add to playlist
03:06

D'après une histoire vraie

Rizzo, Christian (France)

  • Add to playlist
02:41

Folk you

Folk you (United Kingdom)

  • Add to playlist
02:59

Sacré printemps !

M'Barek, Aïcha (France)

  • Add to playlist
02:57

BiT

Marin, Maguy (France)

  • Add to playlist
03:31

Panorama

Decouflé, Philippe (France)

  • Add to playlist
02:59

Bounce!

Rocailleux, Camille (France)

  • Add to playlist
03:02

Rain

De Keersmaeker, Anne Teresa (Belgium)

  • Add to playlist
03:00

Rain

De Keersmaeker, Anne Teresa (Belgium)

  • Add to playlist
07:45

Ply

Pick, Yuval (France)

  • Add to playlist
02:33

Le son d'Elsa

Wolliaston, Elsa (France)

  • Add to playlist
02:59

Japan

Tanguy, Simon (France)

  • Add to playlist
04:39

Next Days

Robbe, Hervé (France)

  • Add to playlist
01:07:40

La légèreté des tempêtes

Ben Aïm, Christian & François (France)

  • Add to playlist
35:57

Made in Strasbourg

Leighton, Joanne (France)

  • Add to playlist
24:49

Printemps (Le)

Diverrès, Catherine (France)

  • Add to playlist
28:32

A mossa

Patarozzi, Jacques (France)

  • Add to playlist
25:27

La trilogie de la chair

Brumachon, Claude (France)

  • Add to playlist
27:51

Deca Dance

Naharin, Ohad (Israel)

  • Add to playlist
05:46

Lucinda Childs

Childs, Lucinda (United States)

  • Add to playlist
Our themas suggestions

Les Rencontres chorégraphiques internationales de Seine-Saint-Denis

Exposition virtuelle

Maison de la Danse de Lyon

Les Rencontres chorégraphiques internationales de Seine-Saint-Denis

Exposition virtuelle

Discover
Know more

Western classical dance enters the modernity of the 20th century: The Ballets russes and the Ballets suédois

Parcours

Céline Roux

Western classical dance enters the modernity of the 20th century: The Ballets russes and the Ballets suédois

Parcours

If the 19th century is that of romanticism, the entry into the new century is synonymous of modernity! It was a few decades later that it would be assigned, a posteriori, the name of “neo-classical”. 

Discover
Know more

LATITUDES CONTEMPORAINES

Exposition virtuelle

Numeridanse.tv

LATITUDES CONTEMPORAINES

Exposition virtuelle

Discover
Know more

40 ans de rock et danse

Exposition virtuelle

Maison de la Danse de Lyon

40 ans de rock et danse

Exposition virtuelle

Chic planète, dansons dessus, oh oh oh

Chic planète, dansons dessus, oh oh oh

Chic planète, dansons dessus...

Et mettons-nous tous nus > Chanson de l’Affaire Louis Trio (1987)

Discover
Know more

[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.

Parcours

[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.

[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.

Parcours

In the 1970s, artists’ drive towards a new classic had been ongoing for more than a half century and several generations had already formed since the Russian Ballets. As the years went by, everyone defended or defends classical dance as innovative, unique, connected to the other arts and the preoccupations of its time.

Discover
Know more

les ballets C de la B et l'esthétique du réel

Exposition virtuelle

Numeridanse.tv
Université Lyon 2 - Arts de la scène et du spectacle vivant

les ballets C de la B et l'esthétique du réel

Exposition virtuelle

Discover
Know more

A Rite of Passage

Webdoc

Julie Charrier

A Rite of Passage

Webdoc

Classical, telluric, shamanic, revolutionary? On May 29th, 1913, the first performance of Nijinski's "Rite of Spring" made such a scandal. This webdoc tells the story of this key work which inspired so many artists.
Discover
Know more

Why do I dance ?

Webdoc

Julie Charrier

Why do I dance ?

Webdoc

Social dances, anti-establishment, protest dances, rhythms or identities, rituals or pleasures... There are a myriad of reasons for dancing and a myriad of points of view. A webdoc to discover, enhanced with extracts from performances and accounts from amateurs... all the right reasons for dancing!
Discover
Know more

Käfig, portrait of a company

Webdoc

Agathe Dumont

Käfig, portrait of a company

Webdoc

Discover
Know more

Genesis of work

Parcours

Centre national de la danse

Genesis of work

Parcours

A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff

Discover
Know more

When reality breaks in

Parcours

Centre National de la danse

When reality breaks in

Parcours

How does choreographic works are testimonies of the world? Does the contemporary artist is the product of an era, of its environment, of a culture?
Discover
Know more

Round dance

Parcours

Olivier Lefebvre

Round dance

Parcours

 Presentation of the Round’s figure in choreography.

Discover
Know more

Butoh

Parcours

Olivier Lefebvre

Butoh

Parcours

On 24th May 1959, Tatsumi Hijikata portrayed the character of the "Man" in the first presentation of a play called Kinjiki (Forbidden Colours).
The Ankoku Butoh was born,

Discover
Know more

Do you mean Folklores?

Parcours

Sarah Nouveau

Do you mean Folklores?

Parcours

Presentation of how choreographers are revisiting Folklore in contemporary creations.

Discover
Know more

Reinterpreting works: Swan Lake, Giselle

Parcours

Anne Décoret-Ahiha

Reinterpreting works: Swan Lake, Giselle

Parcours

Some great shows are revisited through the centuries. Here are two examples of pieces reinterpreted by different choreographers.

Discover
Know more

The committed artist

Parcours

Anne Décoret-Ahiha

The committed artist

Parcours

In all the arts and here especially in dance, the artist sometimes creates to defend a cause, to denounce a fact, to disturb, to shock. Here is a panorama of some "committed" choreographic creations.

Discover
Know more

Genres and styles

Parcours

Anne Décoret-Ahiha

Genres and styles

Parcours

Dance is a rather vast term, which covers a myriad of specificities. These depend on the culture of a country, on a period, on a place. This Journey proposes a visit through dance genres and styles.

Discover
Know more

Contemporary techniques

Parcours

Centre national de la danse

Contemporary techniques

Parcours

This Parcours questions the idea that contemporary dance has multiples techniques. Different shows car reveal or give an idea about the different modes of contemporary dancer’s formations.

Discover
Know more

Hand dances

Parcours

Julie Charrier

Hand dances

Parcours

This parcours presents different video extracts in which hands are the center of the mouvement.

Discover
Know more

Contemporary Italian Dance : the 2000s

Parcours

Ada d’Adamo

Contemporary Italian Dance : the 2000s

Parcours

Panorama of contemporary dance practices in Italy during the 2000s.

Discover
Know more
By accessing the website, you acknowledge and accept the use of cookies to assist you in your browsing.
You can block these cookies by modifying the security parameters of your browser or by clicking onthis link.
I accept Learn more