A plastic world buffeted by a stormy wind, at first glance Umwelt appears to be a wall of mirrored doors, set up in staggered rows at the back of the stage. One by one these mirrors are pushed open by performers who enter and leave in turn in an uninterrupted merry-go-round of figures and “vignettes” in action : one bites into an apple, another runs his hand through his hair, a third puts on an item of clothing. Sometimes two doors open almost simultaneously, or three or more, and the collections of gestures, scenes and snapshots are superimposed or clash together in an inexorable rhythm. The comings and goings are reflected in the mirrors, the figures are divided up, the gestures become blurred, situations interrupt and respond to one other. Marking a turning point in Maguy Marin’s work, Umwelt offers a fascinating vision of what existence is – banal, multiple, linked to echoes of other existences. A time, passing through, a movement, somewhere between appearance and disappearance.
Source: Charleroi Danse
Maguy Marin was born in Toulouse in 1951 and studied dance at the conservatory there before joining the Strasbourg Ballet. In 1970 she was accepted at Maurice Béjart’s school Mudra, where she stayed three years before becoming a soloist (for four seasons) with the Ballet of the 20th Century, under the direction of Maurice Béjart. A turning point would come at the end of this period seeing her shed all her previously held conceptions “allowing a multitude of creative choices, liberty and also constraints to emerge. Nothing was ever the same”. She also began questioning the body types idealized within the dance world, a subject that would become central in her work. “With Maurice Béjart the body was magnified. Youth, virtuosity, everything sparkled. And I had a problem with that. I asked myself what happened to all those other bodies, the ones that were infirm, misshapen or uncoordinated, but who managed to keep standing nonetheless.”
Between 1980 and 1997 Maguy Marin was based at the Maison des arts in Créteil, with her company becoming an official Choreographic Centre in 1985.
From 1998 until 2011 she directed the National Choreographic Centre in Rillieux-la-Pape. After which time the company once again became independent, setting up in Toulouse in order to continue their creative research. In 2015 the company moved again, this time to Sainte Foy-lès-Lyon, where they set up in an old carpentry factory. Their tenure there would allow them to continue to open up the immaterial space of that which is shared, something that obstinately seeks to make itself manifest while encouraging the unfolding of a new ambitious project: RAMDAM, AN ART CENTRE. It is a place of horizontal sharing, dedicated to hosting artists and audience members alike. It is also a place intent on facilitating an on-going exchange and continuous circulation between those conducting research, amateurs, students, spectators and volunteers; as well as creating bridges between different artistic practices, laboratories, places for public relations, education and reflection.
- 1978: Grand Prix du Concours chorégraphique international de Bagnolet - 2003: Grand Prix de la danse du Syndicat de la critique for
Les applaudissements ne se mangent pas
- 2003: American Dance Festival Award
- 2006: Special jury prize Syndicat de la critique for Umwelt
- 2008: Bessie Award for Umwelt presented at the Joyce Theater
- 2008: Grand Prix de la danse du Syndicat de la critique for Turba
- 2011: Prix Danza & Danza for “Best Contemporary Dance Piece » for Salves - 2016: Golden Lion, Venice Biennale
More information : compagnie-maguy-marin.fr
Born in 1977, Fabien Plasson is a video director specialized in the field of performing arts (dance , music, etc).
During his studies at the Ecole Nationale des Beaux-Arts de Lyon (joined in 1995) Fabien discovered video art. He was trained by various video artists (Joel Bartoloméo Pascal Nottoli , Eric Duyckaerts , etc).
He first experimented with the creation of installations and cinematic objects.
From 2001 to 2011, he was in charge of Ginger & Fred video Bar’s programming at La Maison de la Danse in Lyon. He discovered the choreographic field and the importance of this medium in the dissemination, mediation and pedagogical approach to dance alongside Charles Picq, who was a brilliant video director and the director of the video department at that time.
Today, Fabien Plasson is the video director at La Maison de la Danse and in charge of the video section of Numeridanse.tv, an online international video library, and continues his creative activities, making videos of concerts, performances and also creating video sets for live performances.
Sources: Maison de la Danse ; Fabien Plasson website
More information: fabione.fr
Artistic direction / Conception : Maguy Marin
Original music : Denis Mariotte
Lights : Alexandre Béneteaud
Costumes : Cathy Ray (2004), Nelly Geyres (2013)
Sound : Denis Mariotte
Other collaborations : Hervé Deroo (crédit photographique)
Production / Coproduction of the choreographic work : Compagnie Maguy Marin. Coproduction Le Théâtre de la ville, Paris ; Maison de la Danse / Pôle européen de création ; Le Toboggan, Décines. /// Nouvelle production 2013 House on Fire, avec le soutien du Programme Culture de l’Union Européenne ; théâtre Garonne - scène européenne, Toulouse ; BITTeatergarasjen, Bergen-Norvège ; Kaaitheater, Bruxelles-Belgique ; Compagnie Maguy Marin
Production / Coproduction of the video work : Maison de la Danse de Lyon - Fabien Plasson, 2022
Mexican Video Dance
Roots of Diversity in Contemporary Dance
Carolyn Carlson, a woman of many faces
Dance to exist
Write the movement
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.