Chopinot on Chopinot (2012)
In February 2012, Régine Chopinot agreed to take part in a filmed interview.
Looking back on her thirty-year career, but still firmly rooted in her present work, she gives us an honest insight into her world, with plenty of humour and sensitivity.
In this extract, Régine Chopinot talks about cinema, memory and the mirror. She also discusses detonators, basements, modesty, an ambush, as well as a political intimity and an unfiltered collective heritage…
With extracts from:
Choreography Régine Chopinot ; Performers John Bateman, Joanna Blake, Jeannette-Carol Brooks, Boris Charmatz, Philippe Combes, Bertrand Davy, Jacqueline Fischer, Georgette Louison Kala-Lobe, Myriam Lebreton, Anne-Karine Lescop, Samuel Letellier, Maria-Jesus Lorrio, Vojta Pavlicek, Marianne Rachmul, Monet Robier, Manuel Rodriguez, Catherine Savy, Lin-Guang Song, Eric Ughetto ; Costume Jean-Paul Gaultier ; Coproduction Compagnie Chopinot-Centre chorégraphique de Poitou-Charentes, La Coursive-scène nationale La Rochelle, Ville de Lyon avec le concours de la Maison de la danse, Grande Halle de La Villette, Paris, L'Hippodrome-CAC de Douai ; Created at La Coursive, La Rochelle, 12-13 October 1990
A film by Sibylle Stürmer ; Choreograph and peformer Régine Chopinot ; Light Régis Montambaux - Engineering Denis Tisseraud, Xavier Carré ; Music Henry Purcell ; Production Ballet Atlantique-Régine Chopinot, Sibylle & Dieter Stürmer
Updating: March 2013
Régine Chopinot, born in 1952 in Fort-de-l'Eau (today known as Bordj El Kiffan), in Algeria, was attracted to choreographic art from early childhood. After studying classical dance, she discovered contemporary dance with Marie Zighera in 1974. She moved to Lyon where she founded her first company in 1978, the Compagnie du Grèbe, which included dancers, actors and musicians. Here, she created her first choreographies. Three years later, she was awarded second prize in the Concours chorégraphique international de Bagnolet (Bagnolet International Choreographic Contest) for “Halley's Comet” (1981), later known as “Appel d'air”. Her next pieces of work “Délices” (Delights) and “Via”, introduced other media including the cinema to the world of dance. In 1983 with “Délices”, Régine Chopinot began her longstanding partnership with the fashion designer, Jean Paul Gaultier, which would characterize the period, which included works such as “Le Défilé” (The Fashion show) (1985), “K.O.K.” (1988), “ANA” (1990), “Saint Georges” (1991) and “Façade” (1993). In 1986, Régine Chopinot was appointed director of the Centre chorégraphique national de Poitou-Charentes (Poitou-Charentes National Choreography Centre) in La Rochelle (where she succeeded Jacques Garnier and Brigitte Lefèvre's Théâtre du Silence), which went on to become the Ballet Atlantique-Régine Chopinot (BARC), in 1993. Régine Chopinot made a myriad of artistic encounters: from visual artists like Andy Goldsworthy, Jean Le Gac and Jean Michel Bruyère, to musicians such as Tôn-Thât Tiêt and Bernard Lubat.
At the beginning of the 90s, she moved away from – according to her own expression – “ultra-light spaces” in which, at a young age, she had become acknowledged, in particular through her partnership with Jean Paul Gaultier. She then became fascinated with experimenting on confronting contemporary dance with natural elements and rhythms and on testing age-old, complex body sciences and practices, such as yoga. In 1999, as part of “associate artists”, Régine Chopinot invited three figures from the world of contemporary dance to partner with her for three years on her artistic project: Françoise Dupuy, Dominique Dupuy and Sophie Lessard joined the BARC's troupe of permanent dancers and consultants-researchers, as performers, pedagogues and choreographers.
In 2002, she initiated the “triptyque de la Fin des Temps” (Triptych of the End of Time), a long questioning of choreographic writing and creation subsequent to her creation of a voluntary state of crisis of general notions of time, of memory and of construction. “Chair-obscur”, her first chapter, focused on erasing the past, the memory, whilst “WHA” was based on the disappearance of the future. “O.C.C.C.” dealt with the “time that's left”, with what is left to be done, with what can still be done, in that simple, yet essential spot called performance. In 2008, “Cornucopiae”, the last work created within the Institution, concluded the end of a form of performance and opened the doors to another approach to sensorial perception.
Concurrently to her choreographic work, Régine Chopinot worked, as a performer, with other artists that she was close to: Alain Buffard (“Wall dancin' - Wall fuckin'”, 2003; “Mauvais Genre”, 2004), Steven Cohen (“I wouldn't be seen dead in that!”, 2003). In addition, she trained and directed Vietnamese dancers as part of a partnership with the Vietnam Higher School of Dance and the Hanoi Ballet-Opera (“Anh Mat”, 2002; “Giap Than”, 2004). In 2008, the choreographer left the CCN in La Rochelle and created the Cornucopiae - the independent dance Company, a new structure that would, henceforth, harbour creation and repertoire, all the works of Régine Chopinot. In 2010, she chose to live and work in Toulon, by its port.
Since 2009, Régine Chopinot has been venturing, questioning and intensifying her quest for the body in movement linked to the strength of the spoken word, through cultures organized by and on oral transmission, in New Caledonia, New Zealand and Japan. These last three years have been punctuated by a myriad of artistic creations: choreographies and films resulting from artistic In Situ experiences were created as part of the South Pacific Project. A privileged relationship initiated in 2009 with the Du Wetr Group (Drehu/Lifou) bore its fruits with the creation of “Very Wetr!”at the Avignon Festival in July 2012 and went on to be reproduced at the Centre national de la danse (National Centre for Dance) in February 2013.
Last update : March 2012
Chopinot par Chopinot
Other collaborations : Entretien conduit par Annie Suquet - Prise de vue Daniel Crétois - Prise de son Jean-François Le Gouriellec - Entretien enregistré les 23 et 24 février 2012 au Centre national de la danse
Production / Coproduction of the video work : Centre national de la danse
Close-ups and movement continuity in dances for the camera
Close-ups and movement continuity in dances for the camera (Spain)
An architectural promenade through the camera
An architectural promenade through the camera (Spain)
Une sélection de vidéo-danses mexicaines réalisée par le festival AGITE Y SIRVA (https://www.agiteysirva.com/).
The contemporary Belgian dance
The contemporary Belgian dance
This Parcours presents different Belgian choreographers who have marked history and participated in the creation of a "Belgian" style.
This parcours presents different video extracts in which hands are the center of the mouvement.
Presentation of Pantomimes in the different types of dance.