Danse et accessoires FR
2018 - Director : Plasson, Fabien
Choreographer(s) : Massine, Léonide (Russian Federation) Baker, Joséphine (United States) Nikolaïs, Alwin (United States) Rizzo, Christian (France) Bourgeois, Yoann (France) Fontaine, Geisha (France)
Present in collection(s): Maison de la danse
Danse et accessoires FR
2018 - Director : Plasson, Fabien
Choreographer(s) : Massine, Léonide (Russian Federation) Baker, Joséphine (United States) Nikolaïs, Alwin (United States) Rizzo, Christian (France) Bourgeois, Yoann (France) Fontaine, Geisha (France)
Present in collection(s): Maison de la danse
Massine, Léonide
(1895-1979)
Trained in theatre and dance at the Bolshoi Theatre School, he joined the Ballet in 1912. In 1913 he was engaged by Serge Diaghilev for the Ballets Russes, where he was the first to dance the title role in “The Legend of Joseph” and completed his training with Enrico Cecchetti. He choreographed his first ballet, “Midnight Sun”, in 1915 and from then on embarked upon a double career as both dancer and choreographer. He left the Ballets Russes in 1921, danced in South America and in Great Britain, came back to choreography for the “Soirées d'Etienne de Beaumont” (1924) and returned to work for Diaghilev from 1925 to 1928, also contributing to shows for the Cochran Review in London (1925-1926) and the Roxy Theater in New York until 1930. He collaborated with the Rubinstein company (1928 et 1931) and, from 1932, with the Monte-Carlo Ballets Russes. He was guest choreographer at the American Ballet Theater in New York (1942-1943), and at the Marquis de Cuevas' Ballet International in 1944. In 1945-1946, he directed his own company, Ballet Russe Highlights, then returned to Europe where he created or revived works for Sadler's Wells Ballet, the Ballets des Champs Élysées, La Scala Milan, the Opéra-comique in Paris, the Marquis de Cuevas' Grand Ballet and Rome Opera House. In 1960, he founded Balletto Europeo for the Nervi festival. He was invited to revive his work all over the world right up until his death.
A dancer adulated by audiences for his stage presence and vivacity, he excelled in character and demi-character roles and translated the diversity of styles with a great sense of movement and theatricality. He performed little of the repertoire, appearing in the tarantella in “Swan Lake” at the Bolshoi, and although he appeared at the Ballet Russes in Michel Fokine's works, he went on to dance in his own ballets, marking them with his own personality: the Chinaman in “Parade”, the Miller in “The Three-Cornered Hat”, the Cancan Dancer in “La Boutique Fantasque”, the Peruvian Tourist in “Gaîté Parisienne”, the Hussar in “Beau Danube Bleu” (1933) and the Young Musician in “Symphonie Fantastique”. His many experimental choreographies display his sense of humour and taste for burlesque, his fondness for dance with a Russian, Spanish or Commedia dell'Arte character, and his interest in modern art. He made a success of tackling religious themes. In all his works, he imposed a modern concept of academic dance in the neoclassical style. His movement, marked by an angular aesthetic, integrated comic facial expression into dance and favoured spontaneous and vivacious movement in choreographies which do not allow for the slightest pause.
Source: Dictionnaire de la Danse, Philippe Le Moal, Larousse, 1999
More information : massine-ballet.com
Baker, Joséphine
(1906 – 1975)
French dancer and singer of American origin.
She learnt how to dance in the streets and courtyards of Saint Louis (Missouri), assimilating an immense repertoire of movements before debuting at the age of fifteen and gaining notice with her facial expressions and buffoonery in the chorus for "Shuffle Along" (1921), where her number mocked the idea of the chorus line. In 1924, she appeared on Broadway with "Chocolate Dandies" then in the L. Leslie review at the Plantation Club. She appeared in Paris in 1925 at the Theatre des Champs-Elysées in the Revue Nègre, where her sense of rhythm, vivacity, stage presence, and exotic nature in the eyes of the public earned her immediate success. At nineteen, she became the symbol of the latest Parisian fad: hot jazz. She then teamed up with the Folies-Bergère for a long association that would end in 1950, also appearing in “The Siren of the Tropics" (1927), "Zouzou" (1935), and in cabarets around the world.
If in the 1920s the French public compared her to an animal, it was due to racial prejudice, and also because of her apparent spontaneity which, in fact, masked well-known steps and dances (mess around, shake, shimmy) and years of daily practice. By dropping and rising, sliding, squinting, twirling a finger on her head like a spinning top, she achieved the essence of jazz through her dance, built of a series of improvised changes. Also called a “living African sculpture", multi-rhythmic and perfectly dissociated, almost joint-less, she demonstrated enormous elasticity and used her entire body, including her pelvis: her “fanatic jiggling" violated the conventions of the day, eliciting criticism which, most of the time, reflected male hypocrisy. Through the ease with which she executed, her enthusiasm and contagious joy, the way she gave herself entirely to the dance (in particular the Charleston, which she made fashionable in France), she symbolises the 1920s and their rejection of all bonds.
Source : Dictionnaire de la Danse, dir. Philippe Le Moal, Larousse, 1999
Nikolaïs, Alwin
Alwin Nikolaïs was born in 1910 in Southington, Connecticut. He studied piano at an early age and began his performing career as an organist accompanying silent films. As a young artist he gained skills in scenic design, acting, puppetry and music composition. It was after attending a performance by the illustrious German dancer Mary Wigman that he was inspired to study dance. He received his early dance training at Bennington College from the great figures of the modern dance world: Hanya Holm, Martha Graham, Doris Humphrey, Charles Weidman, Louis Horst, and others. In 1940, in collaboration with Truda Kaschmann, his first modern dance teacher Mr. Nikolais received a commission to create « Eight Column Line », his first ballet. In 1948, Mr. Nikolais was appointed director of the Henry Street Playhouse, where he formed the Playhouse Dance Company, later renamed and known as the Nikolais Dance Theatre. It was at Henry Street that Mr. Nikolais began to develop his own world of abstract dance theatre, portraying man as part of a total environment. His unique choreographic works placed him in a realm previously untouched by other choreographers. Mr. Nikolais redefined dance, as “the art of motion which, left on its own merits, becomes the message as well as the medium.“
While developing his choreography, Mr. Nikolais' lifelong interest in music led him to create his own scores. Choreographer, composer, scenic and costume designer, has blended his many talents into a single aesthetic force. In a career that has spanned five decades, he has left his imprint on every theatrical medium, from Broadway to television. Whenever there is something new, his hand is evident. His lighting wonders, his sound scores, his choreography, and his costumes have influenced the contemporary stage and a generation of choreographers. Mr. Nikolais is the creator of the internationally acclaimed Nikolais Dance Theater and the genius responsible for dozens of visual masterpieces. As a uniquely original exponent of American contemporary dance he toured throughout Europe and subsequent tours to South America and the Far East. Mr. Nikolais is renowned as a master teacher, and his pedagogy is taught in schools and universities throughout the world. He passed away May 8, 1993 and is buried in Pere La Chaisse cemetery in Paris.
Source: Nikolais/Louis Foundation for dance Inc.
More information: nikolaislouis.org
Rizzo, Christian
Christian Rizzo was born in 1965 in Cannes. His artistic career began in Toulouse, where he started a rock band and designed a line of clothing, after which he studied fine arts at the Villa d'Arson in Nice, then unexpectedly branched out into dance.
In the 90s he performed with a number of contemporary choreographers including mathilde monnier, herve robbe, mark tompkins and georges appaix, and sometimes created soundtracks and costumes for them as well.
He also worked with choreographers with a different artistic approach, such as vera mantero, catherine contour, emmanuelle huynh and rachid ouramdane.
In 1996 he founded l'association fragile and began presenting events, dancing objects, solos and group pieces, as well as various projects and commissioned work in fashion and the visual arts.
Since then, over thirty projects have borne fruit, not counting his pedagogical activities. Christian rizzo teaches on a regular basis in art schools in France and abroad, as well as in establishments devoted to contemporary dance.
On January 1st, 2015, Christian Rizzo takes the lead of the National Choreographic Center of Montpellier. Now called ICI (International Choreographic Institute), the CCN offers a transversal vision of creation, training, artistic education and openness to the public.
Source : Website of ICI, CCN of Montpellier
More information :
Bourgeois, Yoann
Yoann Bourgeois trained at the National Centre for Circus Arts (CNAC) and at the National Centre for Contemporary Dance (CNDC) in Angers. For four years he was a performer with Maguy Marin’s company. His first piece, "Cavale", was a duet on a trampoline with Mathurin Bolze. In 2014 he created "Celui qui tombe" for the Lyon Dance Biennale, in which six artists attempt to stay upright on a moving stage. From January 2016 to 2022, he has co-directed the National Choreography Centre (CCN) of Grenoble with Rachid Ouramdane.
Source : 17e Biennale de la Danse (2016) - press file
Fontaine, Geisha
Choreographer, performer and researcher of dance, Geisha Fontaine began her career as a ballet dancer, then trained under Merce Cunningham and Alwin Nikolais in New York and Hideyuki Yano in Paris. She then set up the centre de danse contemporaine (Centre for Contemporary Dance) Le Dansoir in Toulouse and worked as a dancer for several contemporary dance companies. In 1998, she founded the Mille Plateaux Associés dance company with Pierre Cottreau. She was the winner of the Villa Médicis – Hors les murs residence in Japan in 2010.
Awarded her art PhD from the Panthéon-Sorbonne University, Geisha Fontaine was published by the Centre national de la danse (National Dance Centre) in 2004 (a book which has been translated into Spanish and Japanese), while “Tu es le danseur”, 2008 and “Là”, 2009, were published by Micadanses. She has collaborated on several joint publications, notably those published by CNRS. She is invited regularly as an artist and a researcher to various universities in France and abroad (Tokyo, Buenos Aires, Santiago…).
Further information
Mille plateaux associés website
Updated : june 2013
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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