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Boléro le refrain du monde

Numeridanse.tv 2019 - Directors : Cabrespines, Damien - Douguet, Anne-Solen

Choreographer(s) : Ek, Mats (Sweden)

Present in collection(s): Numeridanse.tv

Video producer : ARTE France ; Beall Productions 2019

en fr

Boléro le refrain du monde

Numeridanse.tv 2019 - Directors : Cabrespines, Damien - Douguet, Anne-Solen

Choreographer(s) : Ek, Mats (Sweden)

Present in collection(s): Numeridanse.tv

Video producer : ARTE France ; Beall Productions 2019

en fr

Boléro, le refrain du monde

Since its creation in 1928, Ravel's "Boléro" has been the most popular "classic" work in the world. A phenomenal destiny told with a beating drum, notably by some of his fervent admirers: the filmmaker Claude Lelouch, the singers Angélique Kidjo and Rufus Wainwright, the pianists Katia and Marielle Labèque or the popes of electro Carl Craig and Moritz von Oswald.


"I start very small to finish huge," sums up Maurice Ravel in 1928, to characterize the musical UFO he has just composed, without imagining that he also describes the phenomenal and planetary destiny that his Boléro will experience. Perpetually revisited, remixed, sublimated soundtrack, this brief symphonic piece, commissioned by Russian dancer Ida Rubinstein for a performance at the Opéra Garnier, immediately won a triumph. Its repetitive structure, with the crescendo resumption, continuously, of the ternary rhythm of the bolero hammered by the snare drum and the two melodies of sixteen bars each, gives the work a hypnotic power. Over time, it has become a real "tube", which inspires each year, from Paris to Tokyo, from Johannesburg to Berlin, artistic productions of an astonishing diversity, whether it be dance, cinema or musical adaptations of all kinds. With stunning archives and some of his fervent admirers (filmmakers Claude Lelouch and Kim Jee-woon, singers Angélique Kidjo and Rufus Wainwright, choreographers Marie-Agnès Gillot, Gregory Maqoma or Raimund Hoghe, pianists Katia and Marielle Labèque or the popes of electro Carl Craig and Moritz von Oswald…), this documentary retraces beating the extraordinary fate of what was, originally, a small masterpiece of modernity and radicalism.

To see the full film, click here!

Source: ARTE France

Ek, Mats

Mats Ek began his career by studying theatre, whilst taking part in Donya Feuer's (an American who practiced the Martha Graham technique and who was based in Stockholm) dance classes at the same time. He joined the Dusseldorf Ballet for a season (1974-75), then integrated the Cullberg Ballet, directed by his mother Birgit Cullberg, the following year. In 1980, Mats Ek became co-artistic director for the company, along with Birgit Cullberg, and in 1985, when she took her retirement, he became the sole director.
His audacious and mordant revisions of “La Maison de Bernarda” (The House of Bernarda) (1978), “Giselle” (1982), “Le sacre du printemps” (The Rite of Spring) (1984), “Le lac des cygnes” (Swan Lake) (1987), “Carmen” (1992) and “La belle au bois dormant” (Sleeping Beauty) (1996) confirmed his talent to dig deep into appearances to bring out the tormented psychology of the characters and to defy ballet conventions. His surrealist fables such as “Vieux Enfants” (1989) and “Etres Lumineux” (1991) transpose, through the bizarre, the complex relationships that can be developed between people.
Since leaving his position as director of the Cullberg Ballet (1993) and becoming a freelancer, Mats Ek has strived to denounce the ills of society through the difficulties encountered by couples and through the small everyday dramas of life. “A Sort of...” (1997) for the Nederlands Dans Theater, “Appartement” for the Opéra de Paris, “Fluke” (2002) for the repertoire of the Ballet de l'Opéra de Lyon, “Aluminium” for the Compañia Nacional de Danza / Nacho Duato (2005), “Place” for Ana Laguna and Mikhail Baryshnikov (2007), “Radis noir” (2008) for the Ballet of the Royal Opera of Sweden. More than ever, Mats Ek strived to “dance for a reason… I want to reflect the image of reality”.


He also made his comeback in the theatre where he produced “Dans Med Nätsan” / “Danse avec ton prochain” (Dance with your neighbour) (1995), “Johanna sur Jeanne d'Arc” (1998) and directed works by Molière, Racine, Shakespeare, Strindberg, and the Gluck opera “Orphée et Eurydice” (Orpheus and Eurydice).

In twenty years, he has imposed his poignant vision of human behaviour, in a personal style that exacerbates the movement and fills the body with the distresses of the soul. In his psychoanalytical reinterpretations of the “classics”, just like in his sharp observation of the frustrations of individuals, he dares to display the essential.

Source : Opéra de Lyon (Josseline le Bourhis)

Cabrespines, Damien

After an experience in the cinematographic environment as a locator and casting assistant, Damien then worked for television, first as a production assistant then as a journalist for the programs Le Journal Du Cinéma, Nulle Part Ailleurs Cinéma and more Cinema broadcast on Canal +. In 2005, he continued his work as a journalist by producing reports and investigations for the Canal + program specializing in the media: + Clair.

He joined the Grand Journal team in 2007, where he painted the artists invited on set and created numerous columns such as The Crash Test, The Palmometer, The Playlist, The Week Ideal or The Short List. With his Almost Famous column, he produced dance and animated portraits of artists in the process of being recognized.

Since 2015, he has continued his work as a journalist on different shows and on different TV channels (Nobody moves and 28 minutes on Arte, Mardi Cinéma on France 2, Entrée Libre on France 5, Punchline on C8…). Damien is also a director and artistic director for clips (Another Man by Santoré), short programs (Unifrance, Opening Light Music), trailers (Exhibition Seydou Keita at the Grand Palais) or program concepts.

He produces the bimonthly program "En Off" presented by Michel Denisot, broadcast on Paris Première and on the Vanity Fair France website. He co-directed with Anne-Solen Douguet a documentary on the dancer Etoile of the Paris National Opera Marie-Agnès Gillot broadcast in March 2018 on France 5.

In parallel, he developed his personal projects such as Happy Portrait To You, a series of dance portraits exhibited at the Silencio in April 2016.


Source: Beall Productions

More information: http://www.beall.fr/

Douguet, Anne-Solen

Anne-Solen Douguet débute à Canal+ comme coordinatrice du Journal du  Cinéma et de Nulle Part Ailleurs, puis collabore aux 20 ans de Canal+,  aux César ou travaille pour le site Yahoo!.  Elle a également été  responsable éditoriale de la chaîne Tps Home Cinéma. Puis elle est  coordinatrice éditoriale de l’émission politique Dimanche+, sur Canal+,  pour laquelle elle réalise et écrit la pastille humoristique, la Bande Annonce.
En  2014, elle passe à l’écriture et la réalisation de documentaires de  création et de programmes courts. A son actif, de nombreux programmes  courts tels que #code(s)polar  (3x8’–artecreative), 65 raisons d’aimer le cinéma Français,  avec Damien Cabrespines (12’–UniFrance) ou des sujets pour UniFrance et  la RMN Grand-Palais (www.beall.fr ). Elle a également réalisé plusieurs  documentaires : French Cinema Mon Amour  (52’ – Cine+ / TV5 Monde) ;  Divine comédie, des planches à l’écran, avec Jean-Marie Nizan (52’ – Canal + Cinéma) ; Jardins, paradis des artistes, avec Stéphane Bergouhnioux (52’ – Arte), Marie-Agnès Gillot, l’art du grand écart (52’ - France 5 / TV5 Monde) avec Damien Cabrespines, et un épisode de la série Les Secrets des fleurs sauvage, Au fil de l’eau (52’ – Arte / Ushuaïa TV). Elle réalise en ce moment Le Refrain du monde,  documentaire sur le Bolero de Ravel (52’- Arte). Elle est également  productrice occasionelle au sein de Beall Productions, pour qui elle  s’est occupé de l’émission mensuelle En Off (Paris Première-Vanity Fair), ainsi que divers documentaires.


Source: Beall Productions

More information: http://www.beall.fr/

Opéra national de Paris

The Paris Opera (Opéra de Paris) is the primary opera and ballet company  of France. It was founded in 1669 by Louis XIV as the Académie d'Opéra,  and shortly thereafter was placed under the leadership of Jean-Baptiste  Lully and officially renamed the Académie Royale de Musique, but  continued to be known more simply as the Opéra. Classical ballet as it  is known today arose within the Paris Opera as the Paris Opera Ballet  and has remained an integral and important part of the company.  Currently called the Opéra national de Paris, it mainly produces operas  at its modern 2,723-seat theatre Opéra Bastille which opened in 1989,  and ballets and some classical operas at the older 1,979-seat Palais  Garnier which opened in 1875. Small scale and contemporary works are  also staged in the 500-seat Amphitheatre under the Opéra Bastille.  Each year, the Paris Opera presents about 380 performances of opera,  ballet and other concerts, to a total audience of about 800,000 people  (of whom 17% come from abroad), with an average seat occupancy rate of  94%.[2] In the 2012–2013 season, the Paris Opera presented 18 opera  titles (two in a double bill), 13 ballets, 5 symphonic concerts and two  vocal recitals, plus 15 other programmes. The company's training bodies  are also active, with 7 concerts from the Atelier Lyrique and 4  programmes from the École de Danse.

Beall Productions

Beall Productions is a production company imagined in 2012 to develop and produce all forms of audiovisual projects.
It was in 2004 that Stéphane Bergouhnioux, Damien Cabrespines, Raphaëlle Chichery, Anne-Solen Douguet, Sophie Druet, Stéphanie Lachèvre and Jean-Marie Nizan created the Beall collective.
In October 2012, the collective became a production company: Beall Productions. The structure changes but the spirit, the desire and the 7 actors remain.
Beall Productions has ensured since its creation the delegated or executive production of numerous audiovisual programs.
Both for public organizations (such as La Réunion des Musées Nationaux - Grand Palais, Le Musée de l'Armée or La Cité des Sciences et de l'Industrie), as well as for private companies like Canal +
For all of its productions, short subjects as well as documentaries, Beall and today Beall Productions has always used all the human and technical resources necessary to carry out the projects in which it was engaged.
Beall has its own cameras as well as its editing stations. The rest of the postproduction (mixing, calibration, subtitling) is generally subcontracted. But we manage and ensure the production of our projects from start to finish.

Source: Beall Productions

More information: http://www.beall.fr/

Boléro, le refrain du monde

Artistic direction / Conception : Anne-Solen Douguet, Damien Cabrespines

Production / Coproduction of the video work : Arte

Duration : 53 min

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