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Contemporain - Épreuves de danse 2020 - Variation n°13 - Fin du 3ème cycle, fille, 1ère option

Contemporain - Épreuves de danse 2020 - Variation n°13 - Fin du 3ème cycle, fille, 1ère option

Contemporain - Épreuves de danse 2020 - Variation n°13 - Fin du 3ème cycle, fille, 1ère option

The variations proposed by the French Ministry of Culture are teaching aids. They are designed to form a   didactic tool allowing each teacher to transmit dances in the context  of  a choreographic culture.   We strongly recommend that teachers consult the enclosed leaflet, which presents for each variation a biographical note of the choreographers and musicians as well as comments on each dance.   The end of cycle 1 and 2 variations can be technically adapted by   teachers, who have excellent knowledge of their students and are  seeking  for them the most appropriate physical commitment. The  variations for  end of cycle 3, DNOP (national diploma of professional  orientation) in  dance, Bac TMD (Baccalauréat in music and dance  techniques) with dance  option, EAT (French technical capability  examinations), are extracts  from repertoires and, as such, must respect  the artistic writing.  Moreover, some variations can be danced both by  boys and girls,  according to the choice of the student, candidate or  teacher. 

Brown, Trisha


Trisha Brown (Founding Artistic Director and Choreographer) was born and raised in Aberdeen, Washington. She graduated from Mills College in Oakland, California in 1958; studied with Anna Halprin; and taught at Reed College in Portland, Oregon before moving to New York City in 1961. Instantly immersed in what was to become the post-modern phenomena of Judson Dance Theater, her movement investigations found the extraordinary in the everyday and challenged existing perceptions of performance. Brown, along with like-minded artists, pushed the limits of choreography and changed modern dance forever. 


In 1970, Brown formed her company and explored the terrain of her adoptive SoHo making Man Walking Down the Side of a Building (1970), and Roof Piece (1971). Her first work for the proscenium stage, Glacial Decoy (1979), was also the first of many collaborations with Robert Rauschenberg. Opal Loop/Cloud Installation #72503 (1980), created with fog designer Fujiko Nakaya, was followed by Son of Gone Fishin’ (1981), which featured sets by Donald Judd. The now iconic Set and Reset (1983), with original music by Laurie Anderson and visual design by Robert Rauschenberg, completed Brown’s first fully developed cycle of work, Unstable Molecular Structure. This cycle epitomized the fluid yet unpredictably geometric style that remains a hallmark of her work. Brown then began her relentlessly athletic Valiant Series, best exemplified by the powerful Newark (1987) and Astral Convertible (1989) – pushing her dancers to their physical limits and exploring gender-specific movement. Next came the elegant and mysterious Back to Zero cycle in which Brown pulled back from external virtuosity to investigate unconscious movement. This cycle includes Foray Forêt (1990), and For M.G.: The Movie (1991). Brown collaborated for the final time with Rauschenberg to create If you couldn’t see me (1994), in which she danced entirely with her back to the audience. 

Brown turned her attention to classical music and opera production, initiating what is known as her Music cycle. Choreographed to J.S. Bach’s monumental Musical Offering, M.O. (1995) was hailed as a “masterpiece” by Anna Kisselgoff of the New York Times. Brown continued to work with new collaborators, including visual artist Terry Winters and composer Dave Douglas, with whom she created El Trilogy (2000). She then worked with long-time friend and artist, Elizabeth Murray to create PRESENT TENSE (2003) set to music by John Cage. 

Brown stepped into the world of opera to choreograph Carmen (1986) and again to direct Claudio Monteverdi's L’Orfeo (1998). Since then, Brown has gone on to direct four more operas, including, Luci Mie Traditrici (2001), Winterreise (2002), and Da Gelo a Gelo (2006) and most recently, Pygmalion (2010). 

Continuing to venture into new terrain, Brown created "O zlożony/O composite" (2004) for three étoiles of the Paris Opera Ballet, working with long-time collaborators Laurie Anderson and Jennifer Tipton. Forays into new technology created the witty and sophisticated I love my robots (2007), with Japanese artist and robotics designer Kenjiro Okazaki. Her work with Pygmalion produced two dance pieces "L’Amour au théâtre" (2009) and "Les Yeux et l'âme" (2011). Brown’s last work, I’m going to toss my arms- if you catch them they’re yours (2011), is a collaboration with visual artist Burt Barr, whose striking set is dominated by industrial fans. The original music is by Alvin Curran. 

As well as being a prolific choreographer, Brown is an accomplished visual artist, as experienced in "It’s a Draw" (2002). Her drawings have been seen in exhibitions, galleries and museums throughout the world including the Venice Biennale, The Drawing Center in Philadelphia, The New Museum, White Cube, Documenta XII, Walker Art Center, Centre Georges Pompidou, Mills College, Musée d'art Contemporain de Lyon, and Museum of Modern Art. Brown is represented by Sikkema Jenkins & Co. in NYC. 

Trisha Brown has created over 100 dance works since 1961, and was the first woman choreographer to receive the coveted MacArthur Foundation Fellowship “Genius Award.” She has been awarded many other honors including five fellowships from the National Endowment for the Arts, two John Simon Guggenheim Fellowships, Brandeis University’s Creative Arts Medal in Dance, and she has been named a Veuve Clicquot Grande Dame. In 1988, Brown was named Chevalier dans l’Ordre des Arts et Lettres by the government of France. In January 2000, she was promoted to Officier and in 2004, she was again elevated, this time to the level of Commandeur. She was a 1994 recipient of the Samuel H. Scripps American Dance Festival Award and, at the invitation of President Bill Clinton, served on the National Council on the Arts from 1994 to 1997. In 1999, Brown received the New York State Governor’s Arts Award and, in 2003, was honored with the National Medal of Arts. She had the prestigious honor to serve as a Rolex Arts Initiative Mentor for 2010-11 as well as receiving the S.L.A.M. Action Maverick Award presented by Elizabeth Streb, and the Capezio Ballet Makers Dance Foundation Award in 2010. She has received numerous honorary doctorates, is an Honorary Member of the American Academy of Arts and Letters, and was awarded the 2011 New York Dance and Performance ‘Bessie’ Lifetime Achievement Award. In 2011, Brown was honored with the prestigious Dorothy and Lillian Gish Prize for making an “outstanding contribution to the beauty of the world and to mankind’s enjoyment and understanding of life.” In 2012, Brown became a United States Artists Simon Fellow and received the first Robert Rauschenberg Award from the Foundation of Contemporary Arts. She was recently honored with the BOMB Magazine Award. 

Source : Trisha Brown Dance Company 's website

More information

DAI, Jian

Le Mao, Gilles

EPREUVES DE DANSE 2020 - Variation n°13 - Fin du 3ème cycle, fille, 1ère option

Choreography : Trisha BROWN

Interpretation : Héloïse LARUE

Original music : pas de musique

Other collaborations : Avec le concours de la délégation à la danse, de l'inspection à la création artistique , collège Danse.

Production / Coproduction of the video work : La Huit Production à partir d'une commande du Ministère de la Culture

Contemporain - Variation n° 13 - Fin du 3ème cycle, danseur, Bac S2TMD option danse, EAT fille – 1ère option


Analyse labanienne de cette variation proposée par Pascale Laborie

Cette analyse prend appui sur trois catégories qui participent de l’analyse du mouvement Laban Bartenieff : Corps, Dynamique (théorie de l’Effort), Espace[1]. A cela, s’ajoute la notion de phrasé nécessaire à l’appropriation rythmique.

Le corps

L’ancrage, les connexions corporelles fines, l’alignement dynamique sont les grandes qualités corporelles requises pour aborder le mouvement dansé et la variation étudiée ici met ces éléments en jeu dans une relation particulièrement étroite à la conscience gravitaire et au support respiratoire.

Ici le corps se meut avec des mouvements/actions simples telles que sauter, tourner, se déplacer, aller au sol et dans une amplitude médiane, respectueuse de ses limites « organiques ». Les bras et le bassin sont utilisés comme éléments moteurs souvent initiateurs du mouvement (rarement utilisés de façon segmentaire).

Le travail de Trisha Brown[2] nécessite une mise en jeu des connexions corporelles fondamentales telles que décrites par Irmgard Bartenieff[3] afin de permettre une libre circulation du flux de mouvement à travers le corps dans un dialogue entre les trois volumes du corps (tête, cage, bassin).

C’est à travers des initiations par différentes parties du corps (articulations ou surfaces) et un jeu gravitaire (micro-effondrements, déséquilibres, chutes, suspensions…) que se produit le mouvement.

Proposition : Un état des lieux des grandes connections corporelles (centre périphérie, relation tête coccyx, relation homologue, homo-latérale et contra-latérale) pourrait introduire un travail exploratoire autour de l’engagement du poids, moteur de l’élan grâce à des actions simples (marcher, sauter, sautiller, rebondir, repousser et tirer, atteindre) dans le respect des limites articulaires et ligamentaires.

Les dynamiques

Elles sont étudiées ici à partir des facteurs de l’effort décrits par Rudolf Laban, auxquels sont associés des éléments ou polarités qui les constituent : Espace/ciblé ou indirect, temps/soudain ou soutenu, poids/ferme ou doux, flux/contrôlé ou libre[4].

On observe que les alternances dynamiques sont ici organisées autour des facteurs dominants :

- Le poids

Une alternance entre : une relation au poids actif (variantes autour de l’action de repousser, poids actif fort, temps soudain et espace direct) et une relation au poids passif (variantes autour du laisser faire gravitaire/abandon à la gravité).

Par exemple : céder à la gravité et s’en extraire constituent une alternance de poids passif et de poids actif avec un flux libre (voir infra).

- Le flux

Un flux libre la plupart du temps.

- L’espace

Entendu ici dans le sens de l’espace en tant que facteur de la dynamique (et non celui de la kinésphère qui appartient à la catégorie Espace), celui-ci est caractérisé ici par une intention directe qui n’enferme pas la dynamique.

Le facteur temps est plus secondaire et constitue une résultante et le continuum de la danse. Il reste dans le spectre médian des polarités (bien que peu visible mais présent dans sa polarité soudaine au moment des prises d’élan et repoussés).

Proposition : Explorer des qualités d’effort à partir des deux polarités du poids actif (de ferme à doux) et du flux (de contrôlé à libre).

Explorer la sensation du poids passif (s’abandonner ou repousser son poids avec plus ou moins de force de propulsion).

Jouer avec des variations dynamiques de poids actif, passif et de flux.


L’espace général du plateau est parcouru dans sa totalité avec des traversées latérales de cour à jardin ou diagonales. Il n’y a pas de déplacement de fond vers l’avant-scène.

Dans la danse de Trisha Brown l’intention du mouvement peut parfois dépasser les limites de la kinésphère. Ici, l’écriture spatiale est globalement médiane, les membres supérieurs et inférieurs produisant des effets de balancier (contre tension spatiale) le plus souvent organisés dans les plans sagittal et frontal. L’espace haut est peu exploré.

Les mouvements sont essentiellement périphériques et transversaux (traversant les trois plans de la kinésphère) et plus rarement centraux (partant du centre vers la périphérie ou inversement).

Proposition : Explorer la kinésphère avec des trajets périphériques et transversaux initiés par différentes parties du corps en jouant avec les combinatoires poids et flux évoqués précédemment.


Lire et écouter le phrasé est très utile pour aborder l’apprentissage d’une variation et particulièrement comme ici où, en l’absence d’accompagnement musical, celui-ci est accessible à travers la partition sonore générée par les pas et la respiration de la danseuse.

Le phrasé est susceptible de varier d’un interprète à l’autre, en fonction des connexions corporelles, des mobilités articulaires et de la relation que chaque interprète entretien avec la gravité et l’élan.

Notons l’importance d’identifier les phrases chorégraphiques (très lisibles ici car organisées en une succession de préparations/actions/récupérations/transitions) leurs éventuels tuilages et d’en dégager les moments accentués (temps de rebond, d’impulsion et de résonance de suspension et de déséquilibre).

Ce sont les dynamiques qui sous-tendent la forme dans la danse de Trisha Brown. Les combinatoires de flux et le poids soutenus par la respiration entrent en synergie et produisent les phrases de mouvement en relation avec les intentions spatiales.

Ainsi l’interprète doit-il, plutôt que de tenter de produire une forme, jouer avec ces éléments tout en prenant le risque de se laisser surprendre. 



[1]La catégorie Forme n’est volontairement pas abordée ici car secondaire dans le travail de Trisha Brown.

[2]Conseil de lecture pour aborder le travail de Trisha Brown : Terpsichore en baskets de Sally Barnes.

[3]En référence aux fondamentaux de I. Bartenieff, voir Making connections, Total body integration through Bartenieff Fundamentals, Peggy Hackney et Exercices fondamentaux de Bartenieff, Angela Loureiro.

[4]La maîtrise du mouvement, Rudolf Laban, essai traduit de l’anglais par Jacqueline Chalet Haas et Marion Bastien.

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