Pantomimes EN
2018 - Director : Plasson, Fabien
Choreographer(s) : Massé, Marie-Geneviève (France) Cramér, Ivo (Sweden) Pantomimes EN.mp4 Fokine, Michel (Russian Federation) Lifar, Serge (Ukraine) Gert, Valeska (Germany) Jooss, Kurt (Germany) Ohno, Kazuo (Japan) Gruwez, Lisbeth (Belgium)
Present in collection(s): Maison de la danse
Pantomimes EN
2018 - Director : Plasson, Fabien
Choreographer(s) : Massé, Marie-Geneviève (France) Cramér, Ivo (Sweden) Pantomimes EN.mp4 Fokine, Michel (Russian Federation) Lifar, Serge (Ukraine) Gert, Valeska (Germany) Jooss, Kurt (Germany) Ohno, Kazuo (Japan) Gruwez, Lisbeth (Belgium)
Present in collection(s): Maison de la danse
Massé, Marie-Geneviève
Following a classical training with Daniel Frank and Yves Cassati, she studied contemporary dance with Aron Osbon, Sarah Sugwihara, Françoise Dupuy and Bernard Delattre.
In 1980 she fell in love with the dance she discovered through Françoise Lancelot – the baroque. She immediately joined the company “Ris et Danceries” and remained one of its principal artists until 1988, participating notably in the creation of Atys , the Bal à la Cour de Louis XIV , La Suitte d’un Goût Etranger with Dominique Bagouet and François Raffinot. From 1989 to 1992 she worked with François Raffinot as dancer and assistant in his company Barocco.
At the same time she taught baroque dance at the CNSM in Paris, the Conservatoire Royal in La Haye, the Sablé Academy, the Rio Academy and in the Cefedem. From 1995 to 1997 she directed the troop of dancers in the Théâtre Baroque de France.
Marie- Geneviève began choreographing in 1985 at the request of several directors and conductors, founding the company L’Eventail with Bernard Delattre. With this company, based in Sablé since 2001, granted national convention status in 2004, she has created more than thirty-five choreographies and collaborated with renowned artists.
In 2000, proposed by Didier Deschamps and Vincent Berthier de Lioncourt, she was named CHEVALIER DES ARTS ET DES LETTRES.
Following the presentation of "Renaud et Armide | Médée et Jason" at the Opéra Royal at Versailles and the Opéra Comique in December 2012, Marie-Geneviève created, amongst other things, "La Sérénade Royale" which was staged throughout the summer of 2014 in the Galerie des Glaces at Versailles.
For the past four years she has been continuing the project “De la plume à l’image" in partnership with the National Dance Centre. At the moment, she is working on three new creations: « Les Amants Magnifiques » , « Fables à tiroir » et « Othello ou le ballet des apparences ».
She is also preparing the thirtieth anniversary of l’Éventail to be celebrated on December 12th 2015 with the Ballet des Fables at l’Entracte in Sablé-sur-Sarthe.
Source : The Company Eventail 's website
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Cramér, Ivo
Born in 1921.
Swedish ballet dancer, choreographer and director.
A student of S. Leeder and a disciple of B. Cullberg, he developed a personal method influenced by the Laban-Jooss technique. In 1946, he founded his first, itinerant company with B. Cullberg and received second prize at the Copenhagen Choreographic Competition in 1947. He was ballet director at the Verde Gaio in Lisbon (1948-1949), he then worked for ten years as director and choreographer on operettas and musicals.
In 1957, for the Royal Swedish Ballet, he produced “The Prodigal Son" (1957, mus. Alfven), a ballet inspired by rural 18th C paintings and considered “national” masterpieces, and still part of the company’s repertoire. With his wife, Tyyne Talvo, he founded a company (1967-1986) that crossed the country with their productions, including in small theatres. He then directed the Royal Swedish Ballet (1975-1980).
He was a prolific and skilled choreographer with a great sense of theatre. He often dealt with themes connected to history or everyday life and stamped with a deep sense of the religious. In the 1980s, he specialised in the reconstruction of old ballets, including "Arlequin, Magicien d’Amour" (1984, based on Marcadet), “La Dansomanie" (1985, based on P. Gardel), "Médée et Jason" (1992, based on Noverre), presented at the Historic Theatre of Drottningholm, and also in France, thanks to R. Nureyev, as ”La Fille Mal Gardée" (1989) was performed in Nantes with the original score.
Source: Dictionnaire de la Danse, Larousse, éd. 1999, en ligne
Pantomimes EN.mp4
Fokine, Michel
Michel Fokine, original name Mikhail Mikhaylovich Fokine, (born April 23 [April 11, old style], 1880, St. Petersburg, Russia—died Aug. 22, 1942, New York City), dancer and choreographer who profoundly influenced the 20th-century classical ballet repertoire. In 1905 he composed the solo The Dying Swan for the Russian ballerina Anna Pavlova. As chief choreographer for the impresario Serge Diaghilev’s Ballets Russes from 1909 to 1914, he created L’Oiseau de feu (1910; The Firebird) and Petrushka (1911).
Fokine was born of a prosperous middle-class family and entered the Imperial Ballet School at the Mariinsky Theatre in 1889, where he distinguished himself for the breadth of his interests and studies. Fokine was talented not only as a dancer but also as a student of music and painting. He had a fresh and inquiring attitude toward everything connected with the ballet and began quite early to plan choreography, to seek appropriate music in the school library, and to sketch designs. His development as a dancer—he made his debut with the Imperial Russian Ballet on his 18th birthday—was paralleled by his development as a choreographer and designer.
In 1904 he wrote the scenario for his first ballet, which was based on the ancient Greco-Roman legend of Daphnis and Chloe. He sent it to the director of the Imperial Theatre with a note about reforms he wanted to see adopted by choreographers and producers. His crusade for artistic unity in ballet had already begun, but at this stage it made little impact. He was not encouraged to produce Daphnis et Chloé (he created it later, in 1912, for Diaghilev).
All the same, although at St. Petersburg he had no power to implement his beliefs, he began to work as a choreographer. His first ballet, created in 1905 for performance by his pupils, was Acis et Galatée, based on an ancient Sicilian legend. Fokine’s enthusiasm for antiquity owed nothing in origin to the “free dance” ideas of the American dancer Isadora Duncan, although her appearance in Russia in 1905 greatly consolidated his own views. In 1905 he also composed the brief solo The Dying Swan for the Russian ballerina Anna Pavlova. He continued to create ballets and three of his Mariinsky works were included in revised versions in the momentous season of the Ballets Russes that Diaghilev arranged in Paris in 1909: Le Pavillon d’Armide, Une Nuit d’Égypte (Cléopâtre), and Chopiniana (Les Sylphides).
Fokine was an integral part of the Ballets Russes’s Paris triumph. Diaghilev’s genius for bringing artists together in successful collaboration made Fokine, as his chief choreographer, the link between the dancers Tamara Karsavina, Vaslav Nijinsky, and Adolph Bolm; the designers Alexandre Benois and Léon Bakst; and the composer Igor Stravinsky, in such superbly unified creations as L’Oiseau de feu and Petrushka.
Fokine’s relationship with the Diaghilev ballet deteriorated when Diaghilev launched Nijinsky as choreographer; but he remained with the company until 1914, when he returned to Russia. Also in that year, he set down his manifesto on ballet in a letter to The Times (London), advocating the creation in each ballet of a new form of movement corresponding to the subject, period, and character of the music; that dancing and mime have no meaning unless they express dramatic action; that conventional mime should be used only when the style of the ballet requires it; otherwise, meaning should be expressed by the movement of the whole body; that this expressiveness should extend from the individual to the group, to ensembles as much as to solos; and that there should be complete equality in the alliance of the component arts that make up a ballet—dance, music, and scenic and costume design.
Fokine left Russia in 1918 and made his home in New York City from 1923. He worked with various companies in the U.S. and Europe, creating new ballets, such as L’Épreuve d’amour (1936) and Don Juan (1936). None of these later ballets, however, had the impact of his earlier work. He began his last ballet, a comedy, Helen of Troy, for the American Ballet Theatre shortly before his death. It was completed by David Lichine and was premiered at Mexico City on Sept. 10, 1942. His wife, the dancer Vera Fokina, who had performed in many of his ballets, survived him until 1958.
One of the few choreographers to come to a first rehearsal with clear and complete ideas for a ballet, Fokine had great facility and speed in choreographic invention, intense musicality, and the ability to memorize an orchestral score. He was by no means equable at work. Tamara Karsavina wrote in her autobiography Theatre Street that “he was extremely irritable and had no control of his temper,” but she emphasized that dancers became devoted to him.
The vocabulary of classical ballet has been enormously extended since Fokine’s day, and subsequent audiences sometimes feel that his choreography is dated. Those of his ballets remaining in production have inevitably suffered distortion. He himself was conscious that this would happen. “The longer a ballet exists in the repertoire,” he wrote in his Memoirs, “the further it departs from its original version. . . . After my death the public, watching my ballets, will think ‘What nonsense Fokine staged! ”
Source: Kathrine Sorley Walker, Encyclopedia Britannica
Lifar, Serge
Lifar was born in Kiev and trained there by Bronislava Nijinska. He was accepted into the Ballets Russes in 1923, even though Nijinska thought he was not yet ready. Serge Lifar's career was delayed a year because he did not accept Serge Diaghilev's invitation to breakfast. Richard Buckle in his book Diaghilev said, "How lucky, though, we can exclaim, with hindsight! If the process of grooming Lifar for stardom had begun a year earlier than it did, Diaghilev might never have engaged Anton Dolin."
Diaghilev insisted that Lifar's training continue with Enrico Cecchetti, Nicolai Legat and Pierre Vladimirov. Lifar was very handsome, had a fine physique, and a great desire to be liked. He was known for his notorious and unscrupulous displays of ego. Partnering Alicia Markova at London's Drury Lane Theatre his extremely unprofessional jealousy of her triumph caused a minor scandal. In 1938 they danced again when Markova was making her debut in America. The ballet was almost ruined by Lifar's ungallant attempts to steal scenes, causing a critic to write that his performance in Giselle would justify changing the name of the ballet to Albrecht.
Gore Vidal tells of a conversation between himself and Antony Tudor. "I have always wanted to see Serge Lifar. Now I have. And it's all true..."
"What is true?" I asked.
Tudor replied, "He is every bit as bad -- no, dreadful -- as I've always heard."
Lifar eventually replaced Anton Dolin as Diaghilev's favorite when Dolin left to dance in Cochran's Revues with Vera Nemtchinova. Diaghilev made sure Lifar continued his daily classes with Enrico Cecchetti. Wherever Lifar went, Cecchetti was there to give his ward lessons. Lifar was the last of the Ballets Russes' premier danseurs, although Dolin did return to the company as one of the stars. Two of Lifar's greatest achievements as a dancer in the Ballets Russes were in Balanchine's Apollo and The Prodigal Son.
After Serge Diaghilev's death in 1929, Lifar became premier danseur of the Paris Opera Ballet, whose reputation had declined since the Victorian era. By 1933 he had become its Director and Professor of Dance .
In 1939 Lifar joined the Ballet Russe de Monte Carlo where he again danced with Alicia Markova, this time at London's Covent Garden. Despite being past his prime he gave dramatic and moving performances.
Lifar held the position of Director at the Paris Opera Ballet for 20 years, creating 90 percent of the choreography and dancing many leading roles. Although himself trained by Cecchetti, he replaced the Italian technique at the Opera with the modern Russian Vaganova School, named for the great Kirov teacher Aggripina Vaganova.
Lifar was as dynamic as he was controversial in his personal life. During World War II he was accused of being a Nazi collaborator, although this was never proven. Among the 25 books on dance and dancers that he wrote was his autobiography, Ma Vie (1965).
Gert, Valeska
Valeska Gert could be considered one of Germany’s most ambiguous and overlooked artists. She was a dancer, actress, film and cabaret star. She was a pioneering performance artist who is said to have laid the foundations and paved the way for the punk movement.
Gert was born as Gertrud Valesca Samosch in Berlin to a Jewish family. She was the eldest daughter of manufacturer Theodor Samosch and Augusta Rosenthal. Exhibiting no interest in academics or office work, she began taking dance lessons at the age of nine. This, combined with her love of ornate fashion, led her to a career in dance and performance art. In 1915, she studied acting with Maria Moissi.
Source : ICI - CCN Montpellier
More information : ici-ccn.com
Jooss, Kurt
(1901-1979)
A natural leader and independent thinker, Jooss (1901–1979) helped develop what is now known as German Tanztheater, an expressive dance style that combined movement, text and drama. For Jooss, movement and words were inextricably linked; their connection was key to making performances as powerful an experience as life itself. Unlike expressionist choreographers of his time whose dances spoke to emotional themes, he sought to reveal the fallibility of the human condition. He created dances about urban alienation, social injustice and post-war trauma.
Born near Stuttgart, Germany, Jooss grew up studying piano, voice and drama but was drawn to dance from an early age. In 1919, he met Rudolf Laban, who was creating mass movement choirs danced by both professionals and amateurs, including Jooss. Although he had little dance training, he became Laban's student and choreographic assistant. That same year, Jooss presented his first evening of dance, "Two Male Dancers", with fellow student Sigurd Leeder, who became his longtime collaborator. Soon after, Jooss started his own company and created stage works for trained dancers. In 1927, he began his tenure as the first head of the dance department of the Folkwang School in Essen, Germany, which he co-founded that year. After WWII ended, Jooss returned to Germany and resumed his position as dance director of the Folkwang School, and he remained there until 1968.
Source : Dance teacher
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Ohno, Kazuo
Kazuo Ohno was born in Hakodate City, Hokkaido, on October 27 in 1906. In 1926 Kazuo entered the Japan Athletic College. A poor student as he was, a superintendent of a dormitory took him to the Imperial Theater to see a performance by the Spanish dancer Antonia Merce, known as La Argentina. La Argentina was also known as "the Queen of the Castanets" and she innovated 20th century Spanish dance. Spanish poet Garcia Lorca highly praised her. Kazuo was so impressed by her dance.
After graduating the college, Kazuo began working as a physical education teacher at Kanto Gakuin High School, a private Christian school in Yokohama. He began to dance upon moving to Soshin Girls school, another Christian school, since he needed to teach dance to the girls students.He began training with two of Japan's modern dance pioneers, Baku Ishii and Takaya Eguchi, the latter a choreographer who had studied Neue Tanz with Mary Wigman in Germany. In 1938 Kazuo was drafted and went with the army to the front in China and New Guinea for 9 years
Kazuo held the first recital in 1949 at Kanda Kyoritsu Hall in Tokyo when he was 43 years old. As soon as returning from New Guinea, where he was a prisoner of war for a year, Kazuo resumed dancing. The experience of the war made him dance "Jellyfish dance" in one of his recitals in 1950s. On returning from New Guinea, he saw jellyfishes in the sea where those who died on board by hunger and diseases were buried.
In the 1950s, Kazuo Ohno met Tatsumi Hijikata, who inspired him to begin cultivating Butoh (originally called Ankoku Butoh, the "Dance of Utter Darkness"). Butoh was evolving in the turmoil of Japan's postwar landscape. Hijikata, who rejected the Western dance forms so popular at the time, developed with a collective group the vocabulary of movements and ideas that later, in 1961, he named the Ankoku Butoh-ha movement. In 1959, Hijikata created one of the earliest Butoh works, Kinjiki(Forbidden Colors), based on the novel by Yukio Mishima. In 1977, Ohno premiered his solo Butoh work directed by Hijikata, "La Argentina Sho" (Admiring La Argentina), which was awarded the Dance Critic's Circle Award. In 1980, "Admiring La Argentina" is Kazuo's masterpiece as well as Butoh's.
After his 90th birthday, he was still active as a Butoh dancer. The last overseas performance was "Requiem for the 20th Century" which was held in New York on December 1999. But in the same year he had eye trouble and his physical strength gradually started waning.Yet Kazuo Ohno has continued dancing as if he was nourished by his age. When he could not walk by himself, he danced with the supports by others.When he could not stand even with the supports, he danced as he seated himself. When his legs didn't move as he wanted, he danced with his hands. When he lost himself, he crawled on his knees and audience were so moved by watching his back.
When he dances, he vitalizes himself. An ordinary old man becomes a somebody who gives power to others. People love to encounter Kazuo because of that. He lives long, he moves people deeply. Kazuo Ohno is an artist who has enlarged human potential.
He was awarded a cultural award from Kanagawa Prefecture in 1993, a cultural award from Yokohama city in 1998 and the Michelagelo Antonioni Award for the Arts in 1999.
On Tuesday 1 June 2010, Kazuo Ohno died from respiratory failure at the Senin Hoken hospital in Yokohama, in the Tokyo suburbs. He was 103.
Source: Kazuo Ohno Dance Studio 's website
More information : kazuoohnodancestudio.com
Gruwez, Lisbeth
Lisbeth Gruwez (1977) is a Belgian dancer and choreographer, half of Voetvolk's artistic team. She started practising classical ballet at the age of 6 and studied at the 'Stedelijk Instituut voor Ballet' (Antwerp), combining high school with a professional dance education. Once graduated, she joined P.A.R.T.S. (Brussels) to study contemporary dance.
In 1999 she started working with Jan Fabre, being part of his guerriers de la beauté. Having performed in « As long as the world needs a warrior's soul » (2000) and « Je suis sang » (2001), she rose to international fame because of « Quando » l'uomo principale è una donna (2004), the solo Jan Fabre created specifically for (and with) her, well-known for its olive oil-drenched stage.
Apart from working with Fabre, she also collaborated with Ultima Vez (« The Day of Heaven and Hell »), Jan Lauwers|Needcompany (« Images of Affection »), Grace Ellen Barkey (Few Things), Riina Saastamoinen (« Cry Me a River ») and Sidi Larbi Cherkaoui ("Foi").
In 2007 she founded Voetvolk, together with Maarten Van Cauwenberghe. Their work is an ongoing conversation between corporal and auditive movement, in order to achieve a symbiosis between the aural and the visual/physical.
Apart from establishing her own choreographies with Voetvolk, Lisbeth Gruwez has danced in Arco Renz' i!2, together with Melanie Lane, and she also played the leading role in Lost Persons Area, Caroline Strubbe's first feature film.
Gruwez danced in videoclips for A Brand ("Hammerhead"), Juliette and the Licks ("Death of a Whore"), Dirk Braeckman (promoting A.F. Vandevorst's winter collection) and MUGWUMP ("At the Front").
She is also one of the "KVS faces", the open ensemble of artists and thinkers associated with the Royal Flemish Theatre of Brussels.
Right now she is touring with Voetvolk creations We're pretty fuckin' far from okay and Lisbeth Gruwez dances Bob Dylan, and with KVS creation Odysseus. She is also preparing « Thoughts for Meditation », Voetvolk's first large-scale production, to premiere in 2018, for which she will stay offstage to coordinate the bigger picture.
Source : The company Voetvolk 's website
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Plasson, Fabien
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
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