Choreography by Denis Plassard
A choreographic extract remodelled by the contemporary dance workshop group of the MJC Cavaillon, artistic coordinator Marie-Hélène Piras, as part of the “Danse en amateur et repertoire” programme (2013) (a programme created to assist and promote amateur dancing).
The contemporary dance workshop of the MJC de Cavaillon was set up more than twenty years ago. It was directed right from the start by Sylvette Mathieu, a contemporary dance teacher. Made up of some ten former students, loyal and passionate, each year it welcomes new members, thereby creating a real dynamic and a richness of transmission between dancers. Each year, the choreographic work results in a new creation. Meetings are organised in the Vaucluse and in other French departments with other amateur troupes, and shows are presented all year long: in schools, theatres, outdoors in the form of street performances. The “Danse Amateur et Répertoire” programme allowed them to work, in 2008, on an extract from Maguy Marin’s May B and, in 2010, on Franck Micheletti’s Sorrow Love Song (Kubilaï Khan company).
Denis Plassard’s work focuses on gestural precision. He takes advantage of the relationship with dancers in a playful manner, in the exploration and invention of new codes. Excited about the piece presented for the Hivernales d’été in Avignon, the group chose to enter this dynamic and offbeat world of humour where the concept of challenge “a universal group concept”, is an endless source of play. In the original work, there were only male dancers. The group then asked itself “If the work had to be written for female dancers, what transformations would be made to gestures and what would be the other challenges?” And in the group, there is only one boy.
After training in classical and contemporary dance at the Cnsmd de Lyon, Denis Plassard joined Josette Baïz’s company La Place Blanche. In 1990, the desire to choreograph his own works led him to create his first solo, Propos, which gave its name to the company he set up the following year. Right from the start, he has formed bonds between word and movement, between text and gesture, and explores the question of meaning. Whether recorded, recited or sung, whether it is understandable or not, speech is a key element in his work. His choreographic writing, incisive and tinged with great dramatic quality, is nurtured by quirkiness and has no qualms about using humour as a springboard. With each creation, he confronts new aesthetics, immerses himself in other worlds, and relentlessly seeks out artistic frictions. From Bizet to Labiche, from the stage to the dancefloor, ideas jostle each other and genres meet.