Paul est mort ?
Paul est mort ?
With Paul est mort ? (Is Paul dead?) Herman Diephuis focuses on the groups of the 1960s which, like four famous “boys in the wind”, took part musically in the cultural revolution of their time.
More information: www.hermandiephuis.com
Herman Diephuis was born in 1962 in Amsterdam and lives in Paris.
He has worked as a performer for several years with numerous choreographers: Régine Chopinot, Mathilde Monnier, Jean-François Duroure, Philippe Decouflé, François Verret, Jérôme Bel, Xavier Le Roy and Alain Buffard.
In 2002, he choreographed “La C et la F de la F" as part of the project, Les Fables à la Fontaine.
He created his company, the non-profit organisation ONNO, in 2004, in order to produce his own creations and projects. In 2017 he co-created a trio choreography "Goin’down" with Naomi Fall.
At the same time, he develops creative projects with amateurs (whether or not they have an artistic background), such as "Brainstorming (2012), “La Liberté Guidant Romain Rolland" (2011), "Hors Pair" (2008) and “La Cène manquante" (2006), and site-specific projects, including in museums, such as "Vue sur Parc" in September 2014 and "Impressions" in May 2013.
He has also turned his attention as an artistic assistant or collaborator to different artists, including Mathilde Monnier, Raphaëlle Delaunay, Maud le Pladec, Romual Kabore, Teilo Troncy and the Norwegian director Théa Stabell.
He was dance expert at the DRAC in Île-de-France from 2010 to 2012.
With ONNO, he is in residence and associated artist in several cultural structures: at Le Manège, national dance theatre in Reims (2007-2010), in Woodside, California (USA) – Djerassi Resident Artists Program (2011), at the Théâtre Louis Aragon, the subsidised dance theatre in Tremblay-en-France (2010, 2012, 2015 and 2016).
Source : Herman Diephuis 's website
More information : hermandiephuis.com
Author, filmmaker and video artist Charles Picq (1952-2012) entered working life in the 70s through theatre and photography. A- fter resuming his studies (Maîtrise de Linguistique - Lyon ii, Maîtrise des sciences et Techniques de la Communication - grenoble iii), he then focused on video, first in the field of fine arts at the espace Lyonnais d'art Contemporain (ELAC) and with the group « Frigo », and then in dance.
On creation of the Maison de la Danse in Lyon in 1980, he was asked to undertake a video documentation project that he has continued ever since. During the ‘80s, a decade marked in France by the explosion of contemporary dance and the development of video, he met numerous artists such as andy Degroat, Dominique Bagouet, Carolyn Carlson, régine Chopinot, susanne Linke, Joëlle Bouvier and regis Obadia, Michel Kelemenis. He worked in the creative field with installations and on-stage video, as well as in television with recorded shows, entertainment and documentaries.
His work with Dominique Bagouet (80-90) was a unique encounter. He documents his creativity, assisting with Le Crawl de Lucien and co-directing with his films Tant Mieux, Tant Mieux and 10 anges. in the 90s he became director of video development for the Maison de la Danse and worked, with the support of guy Darmet and his team, in the growing space of theatre video through several initiatives:
- He founded a video library of dance films with free public access. This was a first for France. Continuing the video documentation of theatre performances, he organised their management and storage.
- He promoted the creation of a video-bar and projection room, both dedicated to welcoming school pupils.
- He started «présentations de saisons» in pictures.
- He oversaw the DVD publication of Le tour du monde en 80 danses, a pocket video library produced by the Maison de la Danse for the educational sector.
- He launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created Numeridanse.
His main documentaries are: enchaînement, Planète Bagouet, Montpellier le saut de l'ange, Carolyn Carlson, a woman of many faces, grand ecart, Mama africa, C'est pas facile, Lyon, le pas de deux d'une ville, Le Défilé, Un rêve de cirque.
He has also produced theatre films: Song, Vu d'ici (Carolyn Carlson), Tant Mieux, Tant Mieux, 10 anges, Necesito and So schnell, (Dominique Bagouet), Im bade wannen, Flut and Wandelung (Susanne Linke), Le Cabaret Latin (Karine Saporta), La danse du temps (Régine Chopinot), Nuit Blanche (Abou Lagraa), Le Témoin (Claude Brumachon), Corps est graphique (Käfig), Seule et WMD (Françoise et Dominique Dupuy), La Veillée des abysses (James Thiérrée), Agwa (Mourad Merzouki), Fuenteovejuna (Antonio Gades), Blue Lady revistied (Carolyn Carlson).
Source: Maison de la Danse de Lyon
Paul est mort ?
Artistic direction / Conception : Herman Diephuis
Choreography : Herman Diephuis
Interpretation : Jean-Baptiste André, Jérôme Andries, Julien Gallée-Ferré
Artistic consultancy / Dramaturgy : Dalila Khatir
Set design : Herman Diephuis
Lights : Sylvie Mélis
Sound : Catherine Pavet, Alexis Meier
Production / Coproduction of the choreographic work : Le Manège de Reims -scène nationale, ONNO
New breath : 21st century youth enters the world of dance
(LA)HORDE: RESIST TOGETHER
30 YEARS OF GRENADE
Focus on the variety of bodies offered by contemporary dance and how to show these bodies: from complete nudity to the body completely hidden or covered.
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
The Dance Biennale
Dance and percussion
Découvrez de quelles manières ont collaboré chorégraphes et éléments percussifs.
40 years of dance and music
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
The national choreographic centres
Genesis of work
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff
Maison de la danse
Reinterpreting works: Swan Lake, Giselle
Some great shows are revisited through the centuries. Here are two examples of pieces reinterpreted by different choreographers.