Your playlists
The video has been added successfully.
The video is already in this playlist.
Google Chrome Web Browser's video policy changed since version 66 : Video playlist can't be played automatically.
For the best experience of Numeridanse, we recommand you to use Mozilla Firefox.
Exclusively for artists/companies, directors.
Artists, companies, organisations, production agencies, libraries and resource centres, local authorities, festivals, performance centres, arts councils and foundations, directors, associated professionals.
+ Advice and support to create video content, further training in cataloguing, browsing, researching documents and organising video content (virtual exhibitions, playlists, etc.)
Promote your video collection
Unlike more generic platforms, Numeridanse offers a platform dedicated to dance and is run by professionals – La Maison de la Danse and Centre national de la danse.
Numeridanse is an internationally renowned site used by artists, arts professionals, journalists, researchers, teachers, dance enthusiasts, etc.
Retain ownership of your work
Video content is only available through streaming and is not downloadable As a contributor, only you have the tools to export and share your public and private content.
Guaranteed access to an exclusive video collection
Only dance professionals can open PRO and PRO+ accounts and exhibit their content on the platform. You are contributing to the history of dance. By appearing on Numeridanse your videos are made available to everyone.
2018 - Director : Plasson, Fabien
Choreographer(s) : Brumachon, Claude (France) Hoghe, Raimund (Germany) Orlin, Robyn (South Africa) Dubois, Olivier (France) Rizzo, Christian (France) D'Urso, Maria Donata (Italy) Linehan, Daniel (United States) Fontaine, Geisha (France) Cottreau, Pierre (France)
2014 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Brumachon, Claude (France) Lamarche, Benjamin (France)
Video producer : Centre national de la danse
Integral video available at CND de Pantin and at Maison de la danse de Lyon
2009
Choreographer(s) : Hoghe, Raimund (Germany)
Video producer : Maison de la Danse/Montpellier danse
Integral video available at Maison de la danse de Lyon
2006 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Orlin, Robyn (South Africa)
Video producer : Centre national de la danse
Integral video available at CND de Pantin
2013 - Director : Plasson, Fabien
Choreographer(s) : Dubois, Olivier (France)
Video producer : Maison de la danse
2002
Choreographer(s) : Rizzo, Christian (France) Ouramdane, Rachid (France)
Video producer : La Compagnie des Indes, Mezzo, Association Fin Novembre
2006 - Director : Picq, Charles
Choreographer(s) : D'Urso, Maria Donata (Italy)
Video producer : Disorienta;Maison de la Danse
Integral video available at Maison de la danse de Lyon
2011 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Linehan, Daniel (United States)
Video producer : Centre national de la danse
Integral video available at CND de Pantin
2003 - Directors : Geisha, Fontaine - LEX
Choreographer(s) : Fontaine, Geisha (France) Cottreau, Pierre (France)
2018 - Director : Plasson, Fabien
Choreographer(s) : Brumachon, Claude (France) Hoghe, Raimund (Germany) Orlin, Robyn (South Africa) Dubois, Olivier (France) Rizzo, Christian (France) D'Urso, Maria Donata (Italy) Linehan, Daniel (United States) Fontaine, Geisha (France) Cottreau, Pierre (France)
Author : Centre national de la danse
One of the issues in contemporary dance consists of seeing, approaching and working with the body differently than in the past. Contemporary choreographers and dancers seek to subvert an overly trained dancing body. They want to break away from the established ideals and to question what defines, but also limits, the “dancing body”. Moreover, the practice, the perception and experimentation with the body are decisive factors in the work of the contemporary dancer. They seek to cultivate the awareness of their own body, while the choreographer seeks to draw on the body's different competences. Depending on his style and his aesthetic concerns, he will not use the same bodies or thus the same performers.
D’Indicibles Violences - Claude Brumachon
In the performance d’Indicibles Violences, choreographed by Claude Brumachon, the body of the dancers are virtuosic, sporty and agile. The body expresses a virile animality which, according to the choreographer, “travels to the interior of a volcano of extreme flesh. This body also references Greek statuary; it is sculptural and falls within the criteria of “traditional” beauty. It is expert and admirable. It is a body ideal found in contemporary dance, but one from which other choreographers have wanted to emancipate themselves.
Sans titre - Raimund Hoghe
Raimund Hoghe wanted “to throw his body into the struggle”. He thinks that “physical handicaps shock people more than violence on stage”. He suggests “an appeal for imperfection”. Raimund Hoghe is a German choreographer and dancer. who has a hunchback. His body subverts all the ideals attributed to the dancer's body. In the show Sans titre, his body communicates with that of the Congolese dancer Faustin Linyekula. This choreography, which brings Africa and the West face-to-face, involves bodies that contemporary dance has gradually accepted. Here, black skin and a white hunchback become an artistic and poetic medium.
Cygne - Daddy I’ve seen this piece six times before and I still don’t know why they’re hurting each other – Robyn Orlin
Questioning representations of the body also concerns the South African choreographer Robyn Orlin. Orlin criticises the ideological use of physical criteria, in particular in Daddy.... In this piece, a dancer covers herself in flour to become an impeccable white swan – this is an unavoidable referent of the Western ballet culture. The ideal body of the dancer is thus put into perspective and questioned.
La minute du spectateur - Olivier Dubois
In his first creations, Olivier Dubois confronts the exhibition of his body and what this means for his sense of privacy. In his proposals, the body of Olivier Dubois is no longer characterised by its physical aspects, but by the artistic setting which it expresses. Any body can thus become a medium, an ally and the main symbol of an aesthetic engagement.
Skull*Cut - Christian Rizzo
In contemporary dance, the body of the dancer is sometimes also naked. Nudity is a means of restoring the dancing body to its original state. But the body can also be hidden. In Skull*Cut, choreography by Christian Rizzo, the dancer and choreographer Rachid Ouramdane looks like a motorcyclist. He thus becomes a silhouette, both human and undefined. It is a recognisable body whose volumes and postures are emphasised more than if the face and skin were visible. The figure of the motorcyclist is an archetype; but as it is employed here, it changes the elements relating to the dancing body. It results in a strange impression where we are disturbed by a moving body we can perceive, but without really identifying the person we see.
Collection particulière - Maria Donata d'Urso
In Collection particulière, Maria Donata d'Urso works with the plasticity of her body and creates astonishing images in which the contours of her body change radically. She particularly emphasises the role of the skin and the points of support. She questions “the concept of surface which she feels in the physical contact with the ground, but also in the visible space of the stage”. This material body becomes an abstract, moving sculpture that plays with asymmetry. Here the body is the subject of multiple metamorphoses which give it infinite outcomes.
Zombie Aporia - Daniel Linehan
When he is on stage, the dancer combines technical skill, method of interpretation andform of presence. However, the way in which the body subjects itself to the gaze of the audience varies according to the dancers, and the style of the choreographers with whom they work. In Zombie Aporia, created by Daniel Linehan in 2011, the three dancers, through their performance, generate a direct and childlike relationship with the spectators. They engage in the relationships between what you do, what you dance, what you say and what you hum, as if it's business as usual. This obviousness nevertheless ends up involving the spectators in much more complex stratagems, which gradually emerge from the piece. Indeed, “this apparently superficial musical proves to be a manifesto against the conditioning of bodies and minds”.
LEX - Geisha Fontaine et Pierre Cottreau
Geisha Fontaine and Pierre Cottreau conceived LEX while tackling the accepted expressions of choreographic criticism to refer to the body of the dancer. Would the best dancer be the most virtuosic, most moving, most beautiful etc.? The two choreographers connect the qualities of the “good” dancer and his place in the field of work and the laws which govern it. What criteria does a dancer need to meet for a successful audition? How does he then demonstrate his artistic competences while working with the choreographer? LEX takes on several assets given to the dancer and to recurring choreographic figures such as slow motion, sequence, unison, canon, solo, duet, quartet to question the function of the dancer-performer.
Sélection des extraits
Centre National de la danse
Textes
Centre National de la danse
The "Dancing Bodies" Parcours was created thanks to the support of the General Secretariat of the Ministry of Culture and Communication - Department for the Coordination of Cultural Policies and Innovation (SCPCI).