May B (2016)
May B (2016)
“For us, this work, based on the writings of Samuel Beckett, was the basis for a secret decoding of our most intimate, most hidden, least known gestures. In it, the movement and theatrical atmosphere are at odds with the physical performance and aesthetic of the dancer. An attempt to draw attention to those minute or grandiose gestures, those many barely-noticeable, banal lives where waiting and ‘not quite still' stillness leaves a void, an immense nothing, a beach of silences full of hesitations. When Beckett's characters search only for stillness, they cannot help moving, a little or a lot, but they move. In this work which is theatrical in principle, for us the interest was to develop neither words nor speeches, but gesture in its broken-down form, and in so doing, search for the meeting point between the contracted movement of theatre on the one hand and dance and choreographic language on the other.”
Source : Maguy Marin company
Maguy Marin was born in Toulouse in 1951 and studied dance at the conservatory there before joining the Strasbourg Ballet. In 1970 she was accepted at Maurice Béjart’s school Mudra, where she stayed three years before becoming a soloist (for four seasons) with the Ballet of the 20th Century, under the direction of Maurice Béjart. A turning point would come at the end of this period seeing her shed all her previously held conceptions “allowing a multitude of creative choices, liberty and also constraints to emerge. Nothing was ever the same”. She also began questioning the body types idealized within the dance world, a subject that would become central in her work. “With Maurice Béjart the body was magnified. Youth, virtuosity, everything sparkled. And I had a problem with that. I asked myself what happened to all those other bodies, the ones that were infirm, misshapen or uncoordinated, but who managed to keep standing nonetheless.”
Between 1980 and 1997 Maguy Marin was based at the Maison des arts in Créteil, with her company becoming an official Choreographic Centre in 1985.
From 1998 until 2011 she directed the National Choreographic Centre in Rillieux-la-Pape. After which time the company once again became independent, setting up in Toulouse in order to continue their creative research. In 2015 the company moved again, this time to Sainte Foy-lès-Lyon, where they set up in an old carpentry factory. Their tenure there would allow them to continue to open up the immaterial space of that which is shared, something that obstinately seeks to make itself manifest while encouraging the unfolding of a new ambitious project: RAMDAM, AN ART CENTRE. It is a place of horizontal sharing, dedicated to hosting artists and audience members alike. It is also a place intent on facilitating an on-going exchange and continuous circulation between those conducting research, amateurs, students, spectators and volunteers; as well as creating bridges between different artistic practices, laboratories, places for public relations, education and reflection.
- 1978: Grand Prix du Concours chorégraphique international de Bagnolet - 2003: Grand Prix de la danse du Syndicat de la critique for
Les applaudissements ne se mangent pas
- 2003: American Dance Festival Award
- 2006: Special jury prize Syndicat de la critique for Umwelt
- 2008: Bessie Award for Umwelt presented at the Joyce Theater
- 2008: Grand Prix de la danse du Syndicat de la critique for Turba
- 2011: Prix Danza & Danza for “Best Contemporary Dance Piece » for Salves - 2016: Golden Lion, Venice Biennale
More information : compagnie-maguy-marin.fr
Born in 1977, Fabien Plasson is a video director specialized in the field of performing arts (dance , music, etc).
During his studies at the Ecole Nationale des Beaux-Arts de Lyon (joined in 1995) Fabien discovered video art. He was trained by various video artists (Joel Bartoloméo Pascal Nottoli , Eric Duyckaerts , etc).
He first experimented with the creation of installations and cinematic objects.
From 2001 to 2011, he was in charge of Ginger & Fred video Bar’s programming at La Maison de la Danse in Lyon. He discovered the choreographic field and the importance of this medium in the dissemination, mediation and pedagogical approach to dance alongside Charles Picq, who was a brilliant video director and the director of the video department at that time.
Today, Fabien Plasson is the video director at La Maison de la Danse and in charge of the video section of Numeridanse.tv, an online international video library, and continues his creative activities, making videos of concerts, performances and also creating video sets for live performances.
Sources: Maison de la Danse ; Fabien Plasson website
More information: fabione.fr
Choreography : Maguy Marin
Interpretation : Ulises Alvarez, Mychel Lecoq, Laura Frigato, Florence Girardon / Cathy Polo, Cécile Laloy, Johanna Moaligou, Françoise Leick, Louise Mariotte / Agnès Potié, Rolando Roncha Soto, Ennio Sammarco, Marcelo Sepulveda
Additionnal music : Franz Schubert, Gilles de Binche, Gavin Bryars
Lights : Alexandre Béneteaud
Costumes : Louise Marin
Production / Coproduction of the choreographic work : Coproduction Compagnie Maguy Marin, Maison des Arts et de la Culture de Créteil. La Compagnie Maguy Marin est subventionné par le Ministère de la Culture et de la Communication, la Ville de Lyon, la Région Rhône-Alpes et reçoit l’aide de l’Institut français pour ses projets à l’étranger.
Production / Coproduction of the video work : Maison de la Danse - 2016
Roots of Diversity in Contemporary 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.
Käfig, portrait of a company
Maison de la danse
The national choreographic centres
Amala Dianor: dance to let people see
The Dance Biennale
40 years of dance and music
les ballets C de la B and the aesthetic of reality
(LA)HORDE: RESIST TOGETHER
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
EIVV 2022 Dancing with the editing
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
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.
Meeting with literature
Collaboration between a choreographer and a writer can lead to the emergence of a large number of combinations. If sometimes the choreographer creates his dance around the work of an author, the writer can also choose dance as the subject of his text.