François  Chaignaud and Marie-Pierre Brébant share an interest in music as an  experience: open and multifarious, steeped in history, in contact with  other modes of expression. Running counter to any orthodox  interpretation, the starting point of their work can be linked to a  utopian future, dreamt at the intersection of the score, a particular  person. This person is Hildegard von Bingen, a 12th-century Benedictine  nun and mystic who was also a theologian, physician and musician who  left behind her a musical oeuvre grouped under the title Symphonia harmoniae caelestium revelationum.  Chaignaud and Brébant’s approach consists in reinterpreting its  monodies by adapting them for voice and bandura (a traditional Ukrainian  instrument) and exploring their musical and spiritual content outside  traditional frameworks. In an act of deviation from Catholic  hagiography, from ancient music and contemporary choreography, they seek  to take full measure of these revelations in order to bring out the  liberty of these ardent visions and their carnal relationship with the  divine. This unique creation will culminate in the in extenso performance  of the sixty-nine antiennes. Their performance lies at the frontier  between meditative installation, concert and contemplative choreography.  Through the combined resources of body, voice and bandura, they create  an image as much as a dance, a sculpture of time as much as a vision of  ecstasy.

Source: program of the CND

Born in Rennes, François Chaignaud studied dance from the age of 6. In  2003 he earned his degree at the Conservatoire National Supérieur de  Danse in Paris, working with, among others, the choreographers Boris  Charmatz, Emmanuelle Huynh, Alain Buffard and Dominique Brun. Ranging  from He's One that Goes to Sea for Nothing but to Make him sick (2004) to Думи мої  (2013), he has created many performance pieces, using different forms  of dance and voice, in a variety of venues, showing inspiration from  many different inspirations. We see in his work the possibility of a  body stretched between sensual demand and the power of the voice, as  well as a convergence of multiple, heterogenous historical references –  from erotic literature (Aussi Bien Que Ton Cœur Ouvre Moi Les Genoux, 2008) to the more sacred arts.
 He is also a historian and has published at PUR L’Affaire Berger- Levrault : le féminisme à l’épreuve  (1898-1905). His historical curiosity has led him to initiate a number  of interesting artistic collaborations, notably with the legendary drag  queen Rumi Missabu, of the Cockettes, with the cabaret artist Jérôme  Marin (Sous l'ombrelle, 2011, which resurrected some forgotten melodies from the early 20th century), with the artist Marie Caroline Hominal (Duchesses,  2009), with the fashion designers Romain Brau and Charlie Le Mindu, the  plastician Theo Mercier, and the photographer Donatien Veismann …
 He is currently doing research on polyphonic repertory (Georgian, pre-Christian, and medieval).

Source : CCN - Ballet de Lorraine

More information : https://mandorleproductions.fr

A  classical musician by training, Marie-Pierre Brébant is an unorthodox  keyboard player who tests the Baroque and contemporary repertoires to  the full through the body and the stage. Her collaborations with the  director Xavier Boussiron since 2004 led to Harpsichord Parade, a reworking of music by the Doors for voice and keyboard, and Bartók’s Microkosmos for keyboard and electric guitar.

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.).

Cecilia Bengolea and François Chaignaud have been collaborating since 2005. Together, they created Pâquerette (2005-2008), Sylphides (2009), Castor et Pollux (2010), Danses Libres (2010), (M)IMOSA (with Trajal Harrell and Marlene Monteiro Freitas, 2011), altered natives’ Say Yes To Another Excess –TWERK (2012), Dub Love (2013), DFS  (2016). In 2014, the Ballet de l’Opéra de Lyon commissioned them to  create a ballet for seven dancers on pointe shoes, set to Toru Takemitsu  music composition How slow the wind. In 2015, Bengolea and Chaignaud were commissioned by the Ballet de Lorraine to produce a new work set to Devoted, a music by Philip Glass. On the same year, they premiered a new piece, entitled The Lighters’ Dancehall Polyphony for Pina Bausch’s Tanztheater Wuppertal. The performance Sylphides,  written for vacuumed bodies in latex fetish envelopes won the Award de  la Critique de Paris in 2009 and the Young Artist Prize at Gwangju  Biennial, Korea in 2014. Over the past few years, they have presented  work at the Centre Pompidou in Paris, The Kitchen in New York, Tokyos  Spiral in Japan, the Biennale de la danse de Lyon, at Sadler’s Wells  Theatre in London, the Faena Art Center in Buenos Aires, of fig-2 at  ICA, London, at the Festival d’Avignon, the Festival d’Automne à Paris,  Montpellier Danse, ImpulsTanz in Vienna, deSingel in Antwerp, the Teatro  de la Ribera in Buenos Aires, at the Panorama Festival of Rio de  Janeiro, at the Centre National de la danse in Pantin, SESC in Sao Paulo  and most recently at Kyoto Experiment, the Kyoto International  Performing Arts Festival in October 2018.

Source: Company's website

En savoir plus : vlovajobpru.com