We are Numeridanse : Lalanbik
2021 - Director : Deschamps, Tiffanie
Choreographer(s) : Thomas, Soraya (Reunion) Schrotzenberger, Marion (France) Brabant, Jérôme (Reunion) 10ANS_itv_Lalanbik_v2.mp4 (Reunion) undefined, undefined Bongarçon, Stephen Languet, Éric (Reunion)
Present in collection(s): Numeridanse , We are Numeridanse
We are Numeridanse : Lalanbik
2021 - Director : Deschamps, Tiffanie
Choreographer(s) : Thomas, Soraya (Reunion) Schrotzenberger, Marion (France) Brabant, Jérôme (Reunion) 10ANS_itv_Lalanbik_v2.mp4 (Reunion) undefined, undefined Bongarçon, Stephen Languet, Éric (Reunion)
Present in collection(s): Numeridanse , We are Numeridanse
We are Numeridanse
Artists, companies, institutions, these structures bring to the platform their audiovisual heritage, their knowledge, their expertise in favor of the choreographic art. For the platform's 10th anniversary, it was important and necessary to put the contributors of Numeridanse in the spotlight!
In order to celebrate them and so that Numeridanse users get to know them better, we have invited our contributors to answer a series of questions about their works, their inspirations, their desire for collaborations, their creation anecdotes.
Discover these artists in the We are Numeridanse collection!
Soraya Thomas,
Marion Schrotzenberger,
Marion Schrotzenberger began her training in contempo-raine dance at the Conservatoire National de Région de Châlon sur Saône. She graduated with the gold medal.
She then entered the F11 (dance technique) course at the Conservatoire de Danse de Lyon and the Lycée St Exupéry. She will take the courses taught by professors F. Bénet and M. Mengual. This high level training will give him the chance to take the courses and masterclasses given by choreographers of international reputation: Carolyn Carlson, Odile Duboc, Maguy Marin...
She will complete her training by obtaining the F11 baccalaureate with the mention very well and the diploma of graduation in contemporary dance with the mention very well unanimously of the jury.
It will then be accepted upon hearing and with a two-year age derogation from the international training “ex.er.c..” at the Centre Chorégraphique National de Montpellier under the direction of Mathilde Monnier. The training will be delivered by the greatest names in contemporary dance: choreographers Mark Tompkins, Lisa Nelson and Steve Paxton, Odile Duboc, Emmanuelle Huynh, dance historian Laurence Louppe...
After completing her training, she moved to Brussels. Her first project in Belgium was an encounter with Belgian and Quebec artists (dancers, videographers, circassians) with choreographer Edith Depaule, assistant to Michèle Anne de Mey.
The plays will be performed in Brussels (Théâtre de L') and Montréal (Théâtre de Verdure)
Following the performances at the Théâtre de L'L, he was invited to participate as a young choreographer in the 2005 Festival “Danse en vol”. She created her first play «Arizona» with the musician Ismaël Colombani.
She then founded the collective Lookatmekid with Ismaël Colombani and Cosima Jentzsch. For 5 years, the collective will regularly come to Reunion to perform its shows and conduct artistic residencies in schools.
For 2 years now Marion and other members of the collective have officially resided between Brussels and Reunion Island and continue the work of Lookatmekid.
His installation two years ago on Reunion will be marked by the creation of «Saut'la mer à l'envers» supported by the Békali network. It is on the history of his Creole family that the entire dramaturgy of the show is based. The question of origins, migrations and the fa-milial link are danced spoken and set to music. This piece will also mark his desire to deepen the relationship between gesture and word and the integration of amateur extras into his professional work.
Brabant, Jérôme
Jérôme Brabant is a choreographer, born in 1973 at Saint-Pierre in Reunion Island. He studied theatre at Paris 8 University and the Mimodrame Marcel Marceau School. In 2001 he joined the Toulouse/Midi-Pyrenées Choreographic Development Centre to follow the “Extensions” course and started his career as a dancer-performer for several companies: Marco Berrettini’s *Melk Prod, the Samuel Mathieu company, the Patricia Ferrara company/Unber-Humber Group.
Jérôme Brabant started working as a choreographer from 2002, when he founded the UND und ballet with Marion Muzac. He created his first pieces: Roomy Dancing in 2002, Gala in 2003 and Pavilion in 2004.
In 2011 he founded his Octogonale Company on Reunion Island. His return to the island was the opportunity for him to search for a choreography that focused on the island’s identity. He created his first solo, Heimat, “the country you carry within you”.
In 2014, he produced his second solo performance called Impair, which was inspired by the craft of his grandparents, who were well-known for their knowledge of medicinal plants and magnetic healing.
In 2015, Jérôme Brabant collaborated with New Gravity, a group of free runners, and with them he created the piece Emergency.
In 2016, he researched exoticism with Maud Pizon and created A Taste of Ted, a group of solos adapted from original creations by Ted Shawn.
Source : Lalanbik’s website
More information : https://www.lalanbik.org/
10ANS_itv_Lalanbik_v2.mp4
undefined, undefined
Bongarçon, Stephen
Languet, Éric
Although he knows how to accept its codes and conventions, Eric Languet admits to having never known how to integrate into a group. And it is undoubtedly this feeling of illegitimacy which has nourished his career as a dancer and choreographer for thirty years, questioning the margins, the a-normality, inviting to the ball those whom life did not intend to dance. He has nevertheless joined some groups, and not the least. After discovering dance on the island of Reunion, where he grew up, he studied at the CNR in Rueil-Malmaison and embarked on a career as a classical dancer. A career that took him to the Paris Opera, then to the Royal New Zealand Ballet where he was named principal dancer and then resident choreographer. Although he respects the hierarchy of merit, he is less keen on the label that his status as a star dancer would suggest he adopt. The encounter with the work of Jiri Kylian, William Forsyte and Douglas Wright will then influence his aesthetics and his choreographic intention. A dancer for the Meryl Tankard Australian Dance Theatre, he experiments with instant composition work with Mark Tompkins and the approach to physical theater with Zero Theater. The path of Danses en l'R, a company he created in 1998 in Reunion Island, is then traced: that of a dance of the human in society, showcasing the individual and his difficulties in what he They have the simplest gesture.
His conception of beauty and his working techniques will further evolve thanks to two essential meetings, those with Lloyd Newson, under whose direction he worked within the DV8 Physical Theater for the creation of The cost of living from 2000 to 2003, then that of David Toole, a formidable dancer born without a leg, with whom he toured Europe in 2003 for the revival of this creation. Beauty, for Eric Languet, no longer has any connection with the aesthetics of the body. It is located elsewhere, in the faults, the cracks, the subtlety and the ambiguity of relationships with others.« En tant qu’artiste, ce qui m’intéresse depuis toujours, c’est de voir et de rendre compte ; comment chaque individu se détermine au quotidien ; comment il se situe par rapport à l’autre, aux autres, à la norme ou l’anormalité. Que signifie pour lui le rejet ou l’intégration à un groupe ? Dans ma démarche créative, j’aime mélanger des gens avec leurs différents bagages techniques, culturels, biographiques ou physiques et voir quelle(s) histoire(s) se raconte (nt) pendant le temps de cette rencontre. Cette démarche que j’utilise pour mes créations chorégraphiques, s’étend aussi à notre réflexion et à notre relation avec le public et le spectacle. » Eric Languet
S’il sait en accepter les codes et conventions, Eric Languet avoue n’avoir jamais su s’intégrer à un groupe. Et c’est sans doute ce sentiment d’illégitimité qui nourrit depuis trente ans son parcours de danseur et chorégraphe, questionnant la marge, l’a-normalité, invitant au bal ceux que la vie ne destinaient pas à danser.
Des groupes, il en a pourtant intégré quelques-uns, et non des moindres. Après avoir découvert la danse à l’île de La Réunion, où il a grandi, il étudie au CNR de Rueil-Malmaison et embrasse la carrière de danseur classique. Une carrière qui le mènera à l’Opéra de Paris, puis au Royal New-Zeland Ballet où il sera nommé danseur étoile puis chorégraphe résident. S’il y respecte la hiérarchie de mérite, il goûte en revanche moins l’étiquette que son statut de danseur étoile lui suggèrerait d’adopter.
La rencontre du travail de Jiri Kylian, William Forsyte et Douglas Wright influenceront alors son esthétique et son propos chorégraphique. Danseur pour le Meryl Tankard Australian Dance Theatre, il expérimente le travail de composition instantanée avec Mark Tompkins et l’approche du théâtre physique avec le Zéro théâtre.
La voie de Danses en l’R, compagnie qu’il crée en 1998 à La Réunion, est alors tracée : celle d’une danse de l’humain dans la société, mettant en scène l’individu et ses difficultés dans ce qu’ils ont de plus simple, le geste.
Sa conception du beau et ses techniques de travail évolueront encore grâce à deux rencontres essentielles, celles avec Lloyd Newson, sous la direction duquel il travaille au sein du DV8 Physical Theatre pour la création de The cost of living de 2000 à 2003, puis celle de David Toole, formidable danseur né sans jambe, avec qui il tourne en Europe en 2003 pour la reprise de cette création. La beauté, chez Eric Languet, n’a désormais plus de rapport avec l’esthétique des corps. Elle se situe ailleurs, dans les failles, les fêlures, la subtilité et l’ambigüité des rapports à l’autre.
Formé à la danse intégrée par Adam Benjamin, co-fondateur de la compagnie Candoco, Eric Languet mène depuis 2004 un programme d’ateliers en lien avec les institutions et les hôpitaux de La Réunion, ELEC (Espace libre et change), mêlant danseurs valides et handicapés. Il a intégré à sa compagnie Wilson Payet, danseur en fauteuil formé dans le cadre de ces ateliers, interprète de deux de ses créations, Attention fragile (2012) et Fragments d’un discours lumineux (2014), création dans laquelle Eric Languet danse.
Car le chorégraphe n’a jamais cessé de danser et nourrit aussi ses créations de ses expériences d’interprète. Celle avec Robyn Orlin en 2013, sur In a world full of butterflies, it takes balls to be a caterpillar, some thought of falling… a d’ailleurs certainement conforté sa vision chorégraphique, entre théâtre physique, performance et pouvoir de subjuguer de la danse.
Source: Lalanbik
Deschamps, Tiffanie
After training in video editing, Tiffanie Deschamps made her debut in television. From the start, she never ceased to build bridges between her work as an audiovisual editor and her activities as light manager and assistant director for live shows with the Mac Guffin collective. Co-founder and co-director of the Théâtre de l'Uchronie in Lyon since 2013, she naturally comes to portray theatrical and choreographic pieces, and to tell the dance, in particular within the Maison de la Danse de Lyon and during cultural events such as the Lyon Dance Biennale.
Lalanbik
Lalanbik was founded in 2014, in Reunion Island. It contributes to the valorization of actors and choreographics writings of Indian Ocean territories. Lalanbik implement online ressources tools : the first is its website, concerning the Indian Ocean Dance news, and the other one is its online video library, which brings contents about contemporary and traditional dance writings. Lalanbik works in partnership to lead its actions in favor of the widening of publics with : libraries, theatres, dance schools, schools and higher education.
Source : Lalanbik's website
More information : www.lalanbik.org/
We are Numeridanse
Artistic direction / Conception : Numeridanse
Additionnal music : "Alive Inside" - Reaktor
Video conception : Ladydinde
Production / Coproduction of the video work : Maison de la Danse
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