Skip to main content
Back to search
  • Add to playlist

La trilogie de la chair

“This trilogie de la chair (trilogy of flesh) offers an opportunity to summarise all these gestures developed over the past twenty years.” The first piece is entitled D'indicibles violences. A work for eight male dancers, without gimmicks or costumes. “It is an archaic and tribal piece, in which the dancers experiment with a dance that returns them to the natural state. I enjoyed myself with the title, as people say that my dance is violent. I wanted to give meaning to that. Lively, human, extreme, all these words are danced…”. In this archaic writing, music and light play a role in their own right. “I hadn’t worked with a composer for twelve years. Christophe Zurfluh created the musics for several of our creations. In this case, his contribution is considerable. He composes as closely as possible to the dancers.” 

The second piece, Un bruissement de volupté, “is more social and codified than the first”. It is an evocation of sensual pleasures, of the exaltation of the flesh and of its temptations. Jerks, convulsions, caresses, the 13 dancers let their body and their skin speak to deliver us a pictorial composition inspired by the masters of the Italian Renaissance and the 18th century.


Source: Nantes.fr

Brumachon, Claude

Claude Brumachon was born in 1959, in Rouen. After attending Fine Arts where drawing directed him down the path of bodies, he took up dance at the age of seventeen with « les Ballets de la Cité » led by Catherine Atlani, he stayed there for two years.

In 1981, Claude Brumachon met Benjamin Lamarche in Paris, they immediately started a collaborative and original research. Together, they explored that new world opening up through the dancing body.

Claude Brumachon between 1980 and 1983, as for him, worked with Christine Gérard (La Pierre Fugitive), Karine Saporta and Brigitte Farges.

As they belonged to no school in particular and as they rejected none, Claude and Benjamin sealed their agreement with a first duet : Niverolles Duo du col in 1982.

With their first group, the « Rixes » company in 1984, they invented a stylized, vehement and passionate choreographic writing: a sharp and brisk gesture, a tormented tenderness. They surrounded themselves with dancers, a composer, a makeup artist and a costume designer: Founding a troupe and leading it to creation.

In four years’ time, the choreographer created ten plays with two major ones (1988): Texane (award-winning at the Bagnolet contest) and Le Piédestal des vierges which set their style to a recognizable gesture. It quickly followed on sequences of cleat-cut and sharp movements cutting the body and the space.

The choreographer carved out a reputation. In 1989, Folie came to the fore and was a great success again. That success has been repeated 7 years later in 1996, with Icare (presented at the 50th Festival d’Avignon), a solo written for Benjamin Lamarche.

Sometimes groping, sometimes rushing headlong, Claude Brumachon and Benjamin Lamarche imagine and create new worlds. There‘s never any doubt between them, doubts are about dancing, about the ways of dancing, about the continuing questioning of this moving body the mind is obsessed with.

The teaching of their dance is made through training, lessons are made as much to pass on this brand new knowledge as to refine it. Moments to unite the group under a common body language. To understand is also to make understand.

As an expression of desire – passionate – and of an overflowing sensuality to a certain point that it was sometimes described as violent, their plays are tales of the inexpressible, they are mirrors of raging inner worlds, pushed beyond their own rules. Claude Brumachon and Benjamin Lamarche have become researchers in poetic and powerful movements. They’ve been creating a dance alternately full of energy and tormented, lyric and passionate, now high-spirited and romantic and now down to earth and meaningful.

Out of Molière’s wanderings, they made with Histoire d’Argan le Visionnaire (2007) a bright and facetious show as a tribute to the artist. Out of the consumer society, they made a Festin (2004), carnal and sensual where proximity bursts out at the face of the audience. With Phobos (2007), they ventured into irrational, universal or shallow fears.

Claude and Benjamin create from the body for the body and with the body.

Their dances are as much stories of different groups that share a space to live in as they are stories of loneliness facing the world. They all are a research around an irrational gesture that calls for the precise one, necessary and full of meaning.

A gesture, heavy with an unspeakable story that changes into the very moment and, in a sometimes bitter statement, offers a view of man in his complexity.

Claude Brumachon signed more than eighty original choreographies with his own dancers, dancers from other French or foreign ballets, with schools and with children as well.

They directed the National Choreographic Centre of Nantes to the creation in 1992 to 2015. Since January 1, 2016 they continue their choreographic road with their new company SOUS LA PEAU.


Source : Brumachon-Lamarche


More information :

https://www.brumachon-lamarche.fr/

Lamarche, Benjamin

Benjamin Lamarche was born in Bures-sur-Yvette in 1961. At the age of seventeen, he took up – Did it happen by chance or was it his destiny ? – his first contemporary dance class with Claire Rousier.


In 1981, Benjamin Lamarche met Claude Brumachon in Paris, they immediately started a collaborative and original research. Together, they explored that new world opening up through the dancing body.


Benjamin Lamarche took part in other creations with other choreographers, keeping on working with their company. From 1982 to 1984, he worked with Karine Saporta, they toured in the USA with Escale and Hypnotic Circus, where they met many French choreographers.


 In 1984-85, he took part in the creation and in the touring of Tranche de Cake by Philippe Découflé and of Romance en stuc by Daniel Larrieu. Then in 1988, with Janine Charrat, he met Vladimir Dérevianko again to restage a ballet dating back from 1953, Adam Miroir.

Benjamin Lamarche dances in Icare in 1996 (presented at the 50th Festival d’Avignon), a solo written by Claude Brumachon.

Sometimes groping, sometimes rushing headlong, Claude Brumachon and Benjamin Lamarche imagine and create new worlds. There‘s never any doubt between them, doubts are about dancing, about the ways of dancing, about the continuing questioning of this moving body the mind is obsessed with.


The teaching of their dance is made through training, lessons are made as much to pass on this brand new knowledge as to refine it. Moments to unite the group under a common body language. To understand is also to make understand.


 As an expression of desire – passionate – and of an overflowing sensuality to a certain point that it was sometimes described as violent, their plays are tales of the inexpressible, they are mirrors of raging inner worlds, pushed beyond their own rules. Claude Brumachon and Benjamin Lamarche have become researchers in poetic and powerful movements. They’ve been creating a dance alternately full of energy and tormented, lyric and passionate, now high-spirited and romantic and now down to earth and meaningful.

Out of Molière’s wanderings, they made with Histoire d’Argan le Visionnaire (2007) a bright and facetious show as a tribute to the artist. Out of the consumer society, they made a Festin (2004), carnal and sensual where proximity bursts out at the face of the audience. With Phobos (2007), they ventured into irrational, universal or shallow fears.


Claude and Benjamin create from the body for the body and with the body.


Their dances are as much stories of different groups that share a space to live in as they are stories of loneliness facing the world. They all are a research around an irrational gesture that calls for the precise one, necessary and full of meaning.

A gesture, heavy with an unspeakable story that changes into the very moment and, sometimes in a bitter statement, offers a view of man in his complexity.


They directed the National Choreographic Centre of Nantes to the creation from 1992 until 2015. Since January 1, 2016, they continue their choreographic road with their new company SOUS LA PEAU.


Source : Brumachon-Lamarche


More information :

https://www.brumachon-lamarche.fr/

La trilogie de la chair

Artistic direction / Conception : Claude Brumachon

Artistic direction assistance / Conception : Benjamin Lamarche

Interpretation : Steven Chotard, Mickaël Frappat, Julien Grosvalet, Cristian Hewitt Carrasco, Benjamin Lamarche, Martin Mauriès, Victor Vasquez Hormazabal

Production / Coproduction of the video work : Production Scènes d'écran - 24 Images

Our videos suggestions
02:56

Ligne de crête

Marin, Maguy (France)

  • Add to playlist
02:58

Another look at memory

Lebrun, Thomas (France)

  • Add to playlist
02:55

Céu Cinzento

Oliveira, Clébio (France)

  • Add to playlist
02:57

BROTHER

Da Silva Ferreira, Marco (France)

  • Add to playlist
02:45

Suits for two pianos

Scholz, Uwe (France)

  • Add to playlist
04:55

Slow, heavy and blue

Carlson, Carolyn (France)

  • Add to playlist
01:19:53

Undici Onde

Carlson, Carolyn (Italy)

  • Add to playlist
03:48

Synchronicity

Carlson, Carolyn (France)

  • Add to playlist
02:41

Tiger in the tea house

Carlson, Carolyn (France)

  • Add to playlist
03:21

Going Home

Carlson, Carolyn (Germany)

  • Add to playlist
02:40

Undici Onde

Carlson, Carolyn (Italy)

  • Add to playlist
03:00

Malher's Third Symphony

Neumeier, John (France)

  • Add to playlist
03:57

Messiah

Wainrot, Mauricio (Uruguay)

  • Add to playlist
03:24

Girls and Boys

Assaf, Roy (Switzerland)

  • Add to playlist
03:00

Carmen

Inger, Johan (France)

  • Add to playlist
02:58

Via Kanana

Maqoma, Gregory Vuyani (France)

  • Add to playlist
02:55

Boire les longs oublis

Richard, Alban (France)

  • Add to playlist
02:52

Tristan & Isolde, "salue pour moi le monde !"

Bouvier, Joëlle (Switzerland)

  • Add to playlist
02:55

Whack!!

Chen, Ashley (France)

  • Add to playlist
04:09

Samba opus 1 - Rio, le conservatoire de la samba

Samba opus 1 - Rio, le conservatoire de la samba (Brazil)

  • Add to playlist
Our themas suggestions

LE FESTIVAL VAISON DANSES

Exposition virtuelle

Numeridanse.tv

LE FESTIVAL VAISON DANSES

Exposition virtuelle

Discover
Know more

LATITUDES CONTEMPORAINES

Exposition virtuelle

Numeridanse.tv

LATITUDES CONTEMPORAINES

Exposition virtuelle

Discover
Know more

[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.

Parcours

[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.

[1970-2018] Neoclassical developments: They spread worldwide, as well as having multiple repertoires and dialogues with contemporary dance.

Parcours

In the 1970s, artists’ drive towards a new classic had been ongoing for more than a half century and several generations had already formed since the Russian Ballets. As the years went by, everyone defended or defends classical dance as innovative, unique, connected to the other arts and the preoccupations of its time.

Discover
Know more

les ballets C de la B et l'esthétique du réel

Exposition virtuelle

Numeridanse.tv
Université Lyon 2 - Arts de la scène et du spectacle vivant

les ballets C de la B et l'esthétique du réel

Exposition virtuelle

Discover
Know more

A Rite of Passage

Webdoc

Julie Charrier

A Rite of Passage

Webdoc

Classical, telluric, shamanic, revolutionary? On May 29th, 1913, the first performance of Nijinski's "Rite of Spring" made such a scandal. This webdoc tells the story of this key work which inspired so many artists.
Discover
Know more

Black Dance

Webdoc

Julie Charrier

Black Dance

Webdoc

James Carlès, dancer and choreographer and specialist of Afro-American dance, evokes the origin of current-day urban dances. From Africa to the United States via Europe, he emphasizes their hybrid style and puts their social and political dimension into perspective. A myriad of videos, photos, illustrations and additional resources complement this interview.
Discover
Know more

Why do I dance ?

Webdoc

Julie Charrier

Why do I dance ?

Webdoc

Social dances, anti-establishment, protest dances, rhythms or identities, rituals or pleasures... There are a myriad of reasons for dancing and a myriad of points of view. A webdoc to discover, enhanced with extracts from performances and accounts from amateurs... all the right reasons for dancing!
Discover
Know more

Käfig, portrait of a company

Webdoc

Agathe Dumont

Käfig, portrait of a company

Webdoc

Discover
Know more

When reality breaks in

Parcours

Centre National de la danse

When reality breaks in

Parcours

How does choreographic works are testimonies of the world? Does the contemporary artist is the product of an era, of its environment, of a culture?
Discover
Know more

Butoh

Parcours

Olivier Lefebvre

Butoh

Parcours

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,

Discover
Know more

Arts of motion

Parcours

Anne Décoret-Ahiha

Arts of motion

Parcours

Generally associated with circus arts, here is a Journey that will take you on a stroll through different artists from this world.

Discover
Know more

Reinterpreting works: Swan Lake, Giselle

Parcours

Anne Décoret-Ahiha

Reinterpreting works: Swan Lake, Giselle

Parcours

Some great shows are revisited through the centuries. Here are two examples of pieces reinterpreted by different choreographers.

Discover
Know more

The committed artist

Parcours

Anne Décoret-Ahiha

The committed artist

Parcours

In all the arts and here especially in dance, the artist sometimes creates to defend a cause, to denounce a fact, to disturb, to shock. Here is a panorama of some "committed" choreographic creations.

Discover
Know more

Genres and styles

Parcours

Anne Décoret-Ahiha

Genres and styles

Parcours

Dance is a rather vast term, which covers a myriad of specificities. These depend on the culture of a country, on a period, on a place. This Journey proposes a visit through dance genres and styles.

Discover
Know more

Contemporary techniques

Parcours

Centre national de la danse

Contemporary techniques

Parcours

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.

Discover
Know more

Contemporary Italian Dance : the 2000s

Parcours

Ada d’Adamo

Contemporary Italian Dance : the 2000s

Parcours

Panorama of contemporary dance practices in Italy during the 2000s.

Discover
Know more

Rituals

Parcours

Anne Décoret-Ahiha

Rituals

Parcours

Discover how the notion of ritual makes sense in various dances through these extracts.

Discover
Know more

States of the body

Parcours

Philippe Guisgand

States of the body

Parcours

Explanation of the term « State of the body » when it’s about dance.

Discover
Know more

Ballet pushed to the edge

Parcours

Olivier Lefebvre

Ballet pushed to the edge

Parcours

 Ballet’s evolution from its romantic form until néo-classicism.

Discover
Know more

Dance in Quebec: Untamed Bodies

Parcours

Geneviève Dussault

Dance in Quebec: Untamed Bodies

Parcours

First part of the Parcours about dance in Quebec, these extracts present how bodies are being used in a very physical way.

Discover
Know more
By accessing the website, you acknowledge and accept the use of cookies to assist you in your browsing.
You can block these cookies by modifying the security parameters of your browser or by clicking onthis link.
I accept Learn more