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Soli II

CN D - Centre national de la danse 2006 - Director : Centre national de la danse, Réalisation

Choreographer(s) : Égéa, Anthony (France)

Present in collection(s): CN D - Spectacles et performances

Video producer : Centre national de la danse

Integral video available at CND de Pantin

en fr

Soli II

CN D - Centre national de la danse 2006 - Director : Centre national de la danse, Réalisation

Choreographer(s) : Égéa, Anthony (France)

Present in collection(s): CN D - Spectacles et performances

Video producer : Centre national de la danse

Integral video available at CND de Pantin

en fr

Soli II

Présenté  en juin 2006 au CND dans le cadre du Festival Danse HipHop Tanz, ce  solo insolite n'a cessé depuis de connaître un immense succès. Le CND vous propose de le revoir, à l’occasion de sa centième représentation.

Chorégraphié par Anthony Égéa de la compagnie Rêvolution pour la danseuse Émilie Sudre, Soli II  réussit son exploit : brandir tous les clichés féminins pour finir par  les épuiser dans la virtuosité sèche du défi physique. L'intelligence du  corps hip hop décliné en talons-aiguilles et minirobe noire - une  panoplie à l'opposé du look sportswear ad hoc pour le style acrobatique  qu'est le break - , resplendit d'une beauté guerrière [...] Aucune  séduction facile dans ce solo porté par les sons de Tedd Zahmal.  Une âpreté intérieure perceptible rend la danseuse invulnérable,  intouchable. Sa jupe peut se relever au maximum lors de ses pirouettes  sur la tête, elle peut même atterrir dans les coulisses... Émilie Sudre,  seulement vêtue d'un slip et de genouillères noirs, reste simple et  fière. Jamais sa nudité, dans quelque position que ce soit, n'occulte la  danse et sa qualité d'écriture, qui la protègent comme une armure  invisible.

Rosita Boisseau, Le Monde, 1er février 2007.

«  Au son des talons hauts – ceux qui ont vu le film L’homme qui aimait  les femmes comprendront – avant même la silhouette moulée, à  contre-jour, la figure est posée. Féminine jusqu’aux clichés, Émilie  Sudre est venue en découdre. Marche de torero autour du tapis blanc,  cambrée, regards de défi au public. Il faut, par parenthèse, imaginer  ce qu’est alors l’arène d’une salle pleine de hip-hopeurs survoltés  et venus le spectacle des virtuoses s’affrontant... et l’aplomb  nécessaire pour être comme Émilie, là. Elle se jette d’un coup sur le  rectangle, comme un tatami, et enchaîne les variations du hip-hop avec  une lenteur qui témoigne d’une maîtrise impressionnante. Du haut des  hauts talons, la gestuelle de rue devient comme une calligraphie, une  épure de funambule. Encore plus fort, elle enlève une chaussure... On  imagine très bien que cet étalage de virtuosité ait fait taire bien  des relents de machisme. C’était le but.

À  force de se prendre les bras dans sa robe moulante, la voilà femme  voilée sur un air oriental. Et la gestuelle hip-hop dans cet appareil  devient manifeste pour une émancipation. Puis elle en arrive là, de  dos, à moitié nue. Elle danse encore, avec une pudeur délicieuse,  cachant le plus que la danse le permet, ses seins. La scène est d’une  grande beauté, mais la démonstration est faite et il n’y a plus guère  à en dire. Et cela s’achève ainsi.

Soli 2 est  la partie centrale d’un triptyque qu’Anthony Égéa a dévolu à une  remise en cause des clichés du hip-hop. Devenu autonome, la  démonstration que fait Émilie Sudre s’attaque au sexisme souvent  dénoncé de ce milieu, mais l’intensité de la présence, le jeu de  domination de l’interprète sur le public et qui évoque la tauromachie,  dépasse largement l’objectif initial. C’est aussi la Femme jouant de  son attrait comme une arme, de sa séduction comme d’un pouvoir,  qu’exprime ce solo. Si parfois, cela évoque Matador d’Almodovar, cela  explique aussi pourquoi – et le passage dans le solo n’en est que plus  important – dans certaines cultures dont sont issus certains membres de  la culture hip-hop, la femme est contrainte, abaissée et voilée ».

Philippe Verrièle, juillet 2007

Égéa, Anthony

Starting in 1984, Anthony Egéa embarked upon the long learning process of hip hop dance. Having gained awareness of numerous different techniques, he perfected his training at the Ecole Supérieure Rosella Hightower in Cannes thanks to a choreography scholarship from the French Ministry of Culture. He was also awarded the Lavoisier scholarship by the French Ministry of Foreign Affairs, and trained at the Alvin Ailey Dance Theater in New York.
His work on the subject led naturally to a streamlining of his movement and the construction of more abstract forms, confronting the virtuoso with the miniscule, the demonstrative and the expressive.
His work arose from the context of an incensed humanity and the hip hop dance rebellion.
Since 1999, his choreographies have caused his style to evolve, bringing his own vocabulary into contact with other languages. Anthony Egéa has a desire to “reveal dance from the inside, deeper down, from our skin to our feelings”. He chooses paths for transformation over the course of his pieces and projects, to call movement into question by developing hybrid forms that distance themselves from conventions and expectations. From solos to group pieces, his work changes according to the people he meets.        
Anthony Egéa places the body at the centre of his work, developing the energy and expressiveness of gestures, with creations like Tryptik (2000), Amazones (2003), and Soli (2005), where hip hop is revisited in a feminine way. In Urban Ballet (2008), the relationship between music and dance presented him with another objective: to mix urban dance with a classical score. This piece also received a Labanotation. With Clash (2009), two dancers engage in a bodily debate that challenges the notion of power, territory and borders. 
In 2010 he wrote Tetris for the Ballet de l'Opéra National de Bordeaux and Middle, in 2011, for the Beijing Dance Theater.   
In 2012, he choreographed Rage, a piece for six African dancers, offering a tracking shot of the contemporary Africa that so fascinates him. In it, he shows the vital rebellion, ardour and artistic hunger of dancers who offer, through their startling presence, a perspective of their continent.
In 2013, he embarked upon a new adventure, drawing inspiration from the world of the Wizard of Oz to develop a new piece aimed at a younger audience. This new reading of Oz led him towards new horizons where fairy tales, hip hop, gestural virtuosity and video collide.   
Keen to pursue collaborations with dancers from other places, he joined up with the project Käfïg Brasil, a piece for eleven Brazilian dancers by Mourad Merzouki, to write one of its scenes.
Since 2002, in parallel to his artistic work, he has directed the Centre de Formation Professionnelle (Professional Training Centre) for hip hop dancers from the Rêvolution company.

 

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.).

Soli II

Artistic direction / Conception : Anthony ÉGÉA

Choreography : Anthony ÉGÉA

Interpretation : Émilie SUDRE


Original music : Tedd ZAHMAL

Lights : Florent BLANCHON

Production / Coproduction of the video work : Enregistré au CND à Pantin le 23 juin 2006 dans le cadre du festival Danse HipHop Tanz

Duration : 20 minutes

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