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Based on the iconic modern ballet The Rite of Spring (Le Sacre du Printemps, Stravinsky/Nijinsky, 1913), which has become “an eternal and lively myth for all musicians and choreographers throughout the world”, this creative documentary suggests that western modern art, and particularly dancing, originates in the archaic rituals.
According to Stravinsky, the Rite was based on a pagan ritual from Slavic mythology: sacrificing a young girl would guarantee a favourable spring to the members of her community. Based on the ballet’s synopsis and the conviction that “there comes a time when the body, through dance […] welcomes a whole world of elapsed cultures”, the directors have built their film on the alternation of footage from five contemporary choreographers’ versions of the Rite, with visual archives from ethnographic cinema showcasing Asian, African or Oceanic rituals. Filmed on rehearsal or on stage, the Rites from Jean-Claude Gallotta, Sasha Waltz, Angelin Preljocaj, David Wampach and Oliver Dubois face distant images from Vertov, Rouch, Murnau, Spies and others, while the music and rythms reveal the continuity between distinct worlds.
Sacre du printemps (Le)
Premiere in Monaco, first premiered on 29 May 1913 at Théâtre des Champs-Élysées in Paris by the Ballets Russes.
In 2009, the Ballets de Monte-Carlo celebrated the Ballets Russes's original works and heritage in a festive spirit devoid of any fusty ideas. Nijinsky's Rite of Spring illustrated the vibratory emotional technical quality which motivates each and every dancer in the corps de ballet, made up of as many “chosen people” as it is possible to imagine in a company of fifty dancers.
Source : Ballets Monte Carlo
More information : http://www.balletsdemontecarlo.com/
Waltz is the daughter of an architect and a curator. At the age of five years she had her first dance lesson in Karlsruhe with Waltraud Kornhass, a student of Mary Wigman. From 1983 until 1986, Waltz studied at the School For New Dance Development in Amsterdam.
Between 1986 and 1987, Waltz did further training in New York. During that period she was a dancer for Pooh Kaye, Yoshiko Chuma & School of Hard Knocks and Lisa Kraus. After that she collaborated intensely with choreographers, visual artists and musicians such as Tristan Honsinger, Frans Poelstra, Mark N Tompkins, and David Zambrano.
From 1992 onwards Waltz was artist in residence at the Künstlerhaus Bethanien. There she developed a series of "dialogues" in interdisciplinary projects with dancers, musicians and visual artists (Nasser Martin-Gousset, Takako Suzuki, Charlotte Zerbey, Ákos Hargitai). A year later in 1993, she founded her company "Sasha Waltz and Guests" with Jochen Sandig. Over the next 3 years they developed the Travelogue-Trilogy.
Together with Jochen Sandig, Waltz founded the Sophiensæle in central Berlin, as a center for the development of free theatre and dance. Here they developed Allee der Kosmonauten (1996), Zweiland (1997) and Na Zemlje (1998), as well as the project Dialoge `99/I.
In 1999, Waltz took over as artistic director at Schaubühne am Lehniner Platz in Berlin alongside Thomas Ostermeier, Jens Hillje and Jochen Sandig. She opened the Schaubühne under new direction with the debut of Körper (2000). This was followed by S (2000), noBody (2002), insideout (2003), Impromptus (2004) and Gezeiten (2005).
Once her 5-year period with the Schaubühne finished, Waltz reactivated Sasha Waltz & Guests as an independent company again, with a base in Berlin. It was established as an international project with 25 permanent and 40 associate collaborators.
In 2016, Michael Mueller, Mayor of Berlin, announced that Waltz and Johannes Ohman would succeed Nacho Duato as joint artistic directors of the Berlin State Ballet in 2019.
After a trip to New York in which he discovered the work of Merce Cunningham, Lucinda Childs, Steve Paxton, Trisha Brown, Stuart Sherman and Yvonne Rainer, Jean-Claude Gallotta – with Mathilde Altaraz – founded the Émile Dubois Group in Grenoble in 1979, which, in 1981, joined the Grenoble Arts Centre as a dance creation unit. This was where Ulysse was born, a playful ballet using both classical and modern vocabularies.
The Émile Dubois Group became the National Choreographic Centre and took up Ulysse again in 1984 for the Olympic Games Festival in Los Angeles, the American Dance Festival, the Holland Festival and the Avignon Festival.
This was followed by: Les Aventures d’Ivan Vaffan, Les Louves and Pandora. In 1986, Jean-Claude Gallotta was asked to be the director of the Grenoble Arts Centre – renamed “Le Cargo” -, thereby becoming the first choreographer to be appointed to run this type of institution.
In 1987, the ballet Mammame was performed at the Montreal International Festival of New Dance: the Canadian press (dance and theatre) awarded him the prize for the Best Foreign Performance of the Year. In 1989, after some ten audiovisual collaborations with, for example, Claude Mouriéras and Raoul Ruiz, Jean-Claude Gallotta produced his first full-length film: Rei Dom – La Légende des Kreuls. This was followed by Docteur Labus and Les Mystères de Subal.
Jean-Claude Gallotta then resigned as director of the Grenoble Arts Centre and published his first book, Mémoires d’un dictaphone.
During the 1991-1992 season, two choreographic creations combining dance, words and music were performed: La Légende de Roméo et Juliette, performed in November 1991 for the Albertville Olympic Arts Festival, and La Légende de Don Juan, performed in June 1992 for the Universal Exhibition in Seville, as a joint production with the Avignon Festival. Jean-Claude Gallotta then shot his second full-length film: l’Amour en deux.
1993: publication of Les Yeux qui dansent (interviews with Bernard Raffalli).
In July of the same year, Jean-Claude Gallotta recreated Ulysse at the Châteauvallon Festival. This was followed by a long international tour.
1994: Prémonitions, a new choreography created in Grenoble. 1995: at the request of ‘Lyon Opéra Ballet’, Jean-Claude Gallotta composed La Solitude du danseur, four solos performed to music by Erik Satie. Gallotta then worked with Nicholas Hytner and Sir Charles Mackerras to produce La Petite Renarde Rusée, an opera by Leos Janacek, performed by the Théâtre du Châtelet.
At the Châteauvallon Festival, Jean-Claude Gallotta choreographed and performed the solo Hommage à Pavel Haas. In Grenoble, he created La Tête contre les fleurs for the company. This was followed in 1996 by Rue de Palanka, and in 1997, La Rue (an event for 3,000 spectators) and the creation of La Chamoule ou l’Art d’aimer.
A longstanding collaboration was set up with Japan, at the invitation of the director Tadashi Suzuki: from 1997 to 2000, Jean-Claude Gallotta ran the dance department at the new Shizuoka Performing Arts Centre, training and directing a permanent company of eight Japanese performers. In 1998, Jean-Claude Gallotta also directed Le Ventriloque by Jean-Marie Piemme and Le Catalogue by Jean-Bernard Pouy, and wrote Pierre Chatel for “l’Adieu au siècle”.
Jean-Claude Gallotta created Les Variations d’Ulysse for the Paris Opera Ballet, which was performed at the Opéra Bastille in 1995, and repeated in 1998. He also created Nosferatu in May 2002 to music by Pascal Dusapin; the ballet was performed again in spring 2006 at the Opéra Bastille.
In 1999, he created Presque Don Quichotte at the Douai Hippodrome; the piece was also performed in Shizuoka, Japan. In 2000, he created l’Incessante, a solo for Mathilde Altaraz, at the Avignon Festival as part of Le Vif du Sujet. In 2001, he created Les Larmes de Marco Polo for the Lyon International Biennial.
In 2002, he created 99 duos at the Chaillot National Theatre, the first part of a trilogy on ‘People’. In 2003, he prepared Trois générations for the Avignon Festival, which was eventually cancelled. The piece, which includes children, former dancers and the Company, was performed at the Rampe d’Echirolles in March 2004.
It was performed in May of the same year at the Chaillot National Theatre and was repeated in November 2005. The same year, he worked with the director Hans-Peter Cloos to produce a show combining dance, theatre and music, Les sept pechés capitaux by Bertolt Brecht and Kurt Weill. In 2006, he created Des Gens qui dansent, the third part of the trilogy initiated by 99 duos and Trois Générations and, in 2007, he repeated his flagship piece from the 80s, Ulysse, under the title Cher Ulysse.
In 2008, Bach dance experience with Mirella Giardelli and “L’Atelier des Musiciens du Louvre”; Armide by Lully with the conductor William Christie and the director Robert Carsen at the Théâtre des Champs-Elysées, Paris; Chroniques chorégraphiques - season 1, a sort of “stage movie” that allowed him to pursue his poetic research into genres and people.
In 2009, he created l’Homme à tête de chou, with the original words and music by Serge Gainsbourg in a version recorded for the show by Alain Bashung. In April 2011, he performed a solo with Faut qu’je danse ! as a prelude to the recreation of his trio Daphnis é Chloé in Grenoble.
In October 2011, again in Grenoble and with a piece for thirteen dancers, he took on Igor Stravinsky’s Le Sacre du printemps, which he presented in April 2012 at the Chaillot National Theatre, Paris, along with Tumulte and Pour Igor in the first part.
At the end of 2012, he is to present Racheter la mort des gestes - Chroniques chorégraphiques 1 at the Théâtre de la Ville, then at MC2; in early 2013, his recreation of Yvan Vaffan (first performed in 1984) will enable him to continue his work on the repertoire, alternating with his creations and thereby pleading for a certain “continuity in art” and seeking patiently to share with his audience the same story: the story of a shared artistic history and future.
In October 2013, he directed the singer Olivia Ruiz in El Amor Brujo byManuel de Falla, a piece presented together with Stravinsky’s The Soldier’s Tale, a show on which he worked together with the conductor Marc Minkowski and the director Jacques Osinski.
For the 2014-15 season, he presented The Rite and its Revolutions (including the first performance of Xenakis’s Jonchaies and Six Pieces for Orchestra, op. 6 by Webern (Homage to Angela Davis) at the Philharmonie de Paris, and in June he gave the first performance of The Stranger, based on the novel by Albert Camus at the MC2 in Grenoble.
He is opening the 2015-2016 season with My Rock at the MC2 in Grenoble, and at the Théâtre du Rond-Point in Paris.
Source : Gallotta's website
More information : www.gallotta-danse.com
Born in 1972, Olivier Dubois created his first solo “Under Cover” in 1999. In 2005, he performed the duet “Féroces” with Christine Corday for the Théâtre de l'Esplanade, St Etienne. The SACD (Society of Dramatic Authors and Composers) and the Avignon Festival invited him to compose a piece in 2006 in the context of “Vif du Sujet”, “Pour tout l'or du monde”.
In 2006 and 2007 he composed the first two parts of the Bdanse project: “En Sourdine” and “Peter Pan”. He has taught and led numerous workshops for companies and schools abroad. In June 2007 he was awarded the special jury prize by the Syndicat Professionnel de la Critique (Professional Critic's Union for theatre, music and dance), for his achievements as a performer and for “Pour tout l'or du monde”. He presented his new creation “Faune(s)” in 2008 at the Avignon Festival. At the ImpulsTanz Festival in 2008 in Vienna (Austria), he was awarded the Jardin d'Europe prize. In January 2009 he choreographed Offenbach's “La Périchole”, directed by Bérangère Jannelle at the Lille Opera.
He also held an exhibition in 2009, “L'interprète dévisagé”, at the Centre National de la Danse and in November 2009 he premièred “Révolution”, a piece for 14 female dancers set to variations on Ravel's Boléro. The Ballet Monte-Carlo commissioned a piece from him based on “Le Spectre de la Rose” for April 2010. He has performed for many choreographers and directors (Sasha Waltz, Nasser Martin-Gousset, Dominique Boivin, Jan Fabre, Emilio Calcagno, Charles Cré-Ange, Angelin Preljocaj, Karine Saporta, Elio Gervasi, Andy Degroat, Laura Simi...).
Sources : Biennale de la Danse press file ; the Company Olivier Dubois 's website
More information : sites.google.com/site/olivierduboiscod
David Wampach trained with the company Coline in Istres (99), CCN de Montpellier (00) and P.A.R.T.S./Bruxelles (01). He has worked with Anne Lopez, Thierry Baë, Christian Bourigault, Mitia Fedotenko, Mathilde Monnier, Julie Brochen, Odile Duboc, João Fiadeiro, Alain Michard, Catherine Contour, Christian Rizzo.
He started his personal work with his inscription in the Association Achles and he created the pieces :
- lambda if I include myself, kappa the piece itself (2001), performance for 10 dancers, created in Brussels,
- D ES R A (2003), a duo created with Pierre Mourles,
- circon c is (2004), laureate of the Solo Mio competition and laureate of the Biennale Festival of young creators from Europe and the Mediterranean (Naples),
- BASCULE (2005), trio created for the Printemps de Septembre / Soirées Nomades at Fondation Cartier / CDC Toulouse,
- QUATORZE (2007), quatuor created for the Montpellier Danse Festival,
- AUTO (2008), duet, created for the Rencontres Chorégraphiques Internationales de Seine-Saint-Denis,
- BATTERIE (2008), performance for a dancer and a drummer, premiered at the Accès(s) festival in Pau,
- BATTEMENT (2009), trio created during the SKITe/Sweet & Tender Collaborations in Porto,
- ECRAN (2010) created with the author Jérôme Game for the ActOral festival,
- CASSETTE (2010), performance for 8 performers, premiered at Scène Nationale d'Alès.
David Wampach presented SACRE for the Montpellier Danse 2011 festival in June, before leaving for Kyôto, Japan, as laureate of Villa Kujoyama.
Artistic direction / Conception : Etienne Aussel, Valérie Gabail
Choreography : Jean-Claude Galotta, Sasha Waltz, Angelin Preljocaj, Oliver Dubois, David Wampach
Sound : Thierry Bertomeu
Production / Coproduction of the video work : Valérie Gabail - compagnie Surimpressions, Aurèle Bardin, Alyson Cléret
Duration : 74