Blue Lady [revisited]
Blue lady [Revisited]
“Blue Lady”, Carolyn Carlson's mythical solo, has left unforgettable images all over the world, crystallizing the dreams, hopes and emotions of thousands of spectators. Venetian blinds, the red dress unfurling around the dancer, the final kiss carried away on an entrancing melody: images of La Carlson that haunt the imagination. First produced on 11th October 1983 at La Fenice in Venice, it has now been entrusted to Tero Saarinen, the charismatic Finnish performer and choreographer. Profoundly linked by a common artistic outlook, the same aesthetic and their Finnish origins, Carolyn Carlson and Tero Saarinen respond to each other like yin and yang. A correspondence revealing the fullness of lives whose spiritual dimension expands the movement. “Blue Lady” offers the magic of these shared intimacies with the audience, precious moments which touch the soul, leaving radiant memories in the heart. These intense artistic relations permit that rare gift of a work reinvested by another being, an additional physical layer. A piece borne on the vital flame of its interpretation and in the eyes in which it is reflected.
Source : CCN Roubaix Nord-pas-de-Calais
Chorégraphie Carolyn Carlson interprète Tero Saarinen musique originale René Aubry scénographie originale Frédéric Robert lumières originales John Davis, Claude Naville lumières Peter Vos costumes recréation Chrystel Zingiro Production Centre Chorégraphique National Roubaix Nord-Pas de Calais coproduction Biennale de la Danse de Lyon, Le Colisée - Théâtre de Roubaix avec lacollaboration de l'Atelier de Paris - Carolyn Carlson
Réalisation vidéo Charles Picq date du document vidéo 2008 production Maison de la Danse Durée de l'œuvre 1h
California-born Carolyn Carlson defines herself first and foremost as a nomad. From San Francisco Bay to the University of Utah, from the Alwin Nikolais company in New York to Anne Béranger’s in France, from Paris Opera Ballet to Teatrodanza La Fenice in Venice, from the Théâtre de la Ville de Paris to Helsinki, from Ballet Cullberg to La Cartoucherie in Paris, from the Venice Biennale to Roubaix, Carlson is a tireless traveller, always seeking to develop and share her poetic universe.
She arrived in France in 1971 the beneficiary of Alwin Nikolais’s ideas about movement, composition and teaching. The following year, with Rituel pour un rêve mort, she wrote a poetic manifesto that defined an approach to her work that she has adhered to ever since: dance that is strongly oriented towards philosophy and spirituality. Carlson prefers the term ‘visual poetry’ to ‘choreography’ to describe her work. She creates works that express her poetic thoughts and a form of complete art within which movement occupies a special place.
For four decades, Carlson has had significant influence and success in many European countries. She played a key role in the birth of French and Italian contemporary dance through the GRTOP (theatre research group) at Paris Opera Ballet and Teatrodanza at La Fenice.
She has created over 100 pieces, a large number of which are landmarks in the history of dance, including Density 21.5, The Year of the Horse, Blue Lady, Steppe, Maa, Signes, Writings on Water and Inanna. In 2006, her work was rewarded with the first ever Golden Lion given to a choreographer by the Venice Biennale.
Nowadays, Carolyn Carlson is director of two organisations: the Atelier de Paris-Carolyn Carlson, an international centre for masterclasses, residencies and creating new works, which she founded in 1999 and the National Choreographic Centre Roubaix Nord-Pas de Calais until December 2013, which produces and tours shows all over the world.
More information: en.carolyn-carlson.com
Author, filmmaker and video artist Charles Picq (1952-2012) entered working life in the 70s through theatre and photography. A- fter resuming his studies (Maîtrise de Linguistique - Lyon ii, Maîtrise des sciences et Techniques de la Communication - grenoble iii), he then focused on video, first in the field of fine arts at the espace Lyonnais d'art Contemporain (ELAC) and with the group « Frigo », and then in dance.
On creation of the Maison de la Danse in Lyon in 1980, he was asked to undertake a video documentation project that he has continued ever since. During the ‘80s, a decade marked in France by the explosion of contemporary dance and the development of video, he met numerous artists such as andy Degroat, Dominique Bagouet, Carolyn Carlson, régine Chopinot, susanne Linke, Joëlle Bouvier and regis Obadia, Michel Kelemenis. He worked in the creative field with installations and on-stage video, as well as in television with recorded shows, entertainment and documentaries.
His work with Dominique Bagouet (80-90) was a unique encounter. He documents his creativity, assisting with Le Crawl de Lucien and co-directing with his films Tant Mieux, Tant Mieux and 10 anges. in the 90s he became director of video development for the Maison de la Danse and worked, with the support of guy Darmet and his team, in the growing space of theatre video through several initiatives:
- He founded a video library of dance films with free public access. This was a first for France. Continuing the video documentation of theatre performances, he organised their management and storage.
- He promoted the creation of a video-bar and projection room, both dedicated to welcoming school pupils.
- He started «présentations de saisons» in pictures.
- He oversaw the DVD publication of Le tour du monde en 80 danses, a pocket video library produced by the Maison de la Danse for the educational sector.
- He launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created Numeridanse.
His main documentaries are: enchaînement, Planète Bagouet, Montpellier le saut de l'ange, Carolyn Carlson, a woman of many faces, grand ecart, Mama africa, C'est pas facile, Lyon, le pas de deux d'une ville, Le Défilé, Un rêve de cirque.
He has also produced theatre films: Song, Vu d'ici (Carolyn Carlson), Tant Mieux, Tant Mieux, 10 anges, Necesito and So schnell, (Dominique Bagouet), Im bade wannen, Flut and Wandelung (Susanne Linke), Le Cabaret Latin (Karine Saporta), La danse du temps (Régine Chopinot), Nuit Blanche (Abou Lagraa), Le Témoin (Claude Brumachon), Corps est graphique (Käfig), Seule et WMD (Françoise et Dominique Dupuy), La Veillée des abysses (James Thiérrée), Agwa (Mourad Merzouki), Fuenteovejuna (Antonio Gades), Blue Lady revistied (Carolyn Carlson).
Source: Maison de la Danse de Lyon
Blue lady [Revisited]
Choreography : Carolyn Carlson
Interpretation : Tero Saarinen
Set design : Frédéric Robert
Original music : René Aubry
Lights : John Davis, Claude Naville, Peter Vos
Costumes : Chrystel Zingiro
Production / Coproduction of the choreographic work : Centre Chorégraphique National Roubaix Nord-Pas de Calais, Biennale de la Danse de Lyon, Le Colisée - Théâtre de Roubaix, Atelier de Paris - Carolyn Carlson
Production / Coproduction of the video work : Charles Picq, Maison de la Danse
Duration : 1h
Mexican Video Dance
Carolyn Carlson, a woman of many faces
This Parcours questions the idea that contemporary dance has multiples techniques. Different shows car reveal or give an idea about the different modes of contemporary dancer’s formations.
A Rite of Passage
La part des femmes, une traversée numérique
Charles Picq, dance director
The Dance Biennale
Yield Variations on dissuasive urban furniture
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
30 YEARS OF GRENADE
On 24th May 1959, Tatsumi Hijikata portrayed the character of the "Man" in the first presentation of a play called Kinjiki (Forbidden Colours).
The Ankoku Butoh was born,
Presentation of the Round’s figure in choreography.
When reality breaks in
Dance and performance
Here is a sample of extracts illustrating burlesque figures in Performances.
Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians
Dance in Quebec: Untamed Bodies
First part of the Parcours about dance in Quebec, these extracts present how bodies are being used in a very physical way.
Genesis of work
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff