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Salves

Maison de la Danse de Lyon 2011 - Director : Picq, Charles

Choreographer(s) : Marin, Maguy (France)

Present in collection(s): Maison de la Danse de Lyon , Saisons 2010 > 2019

Video producer : Maison de la Danse

en fr

Salves

Maison de la Danse de Lyon 2011 - Director : Picq, Charles

Choreographer(s) : Marin, Maguy (France)

Present in collection(s): Maison de la Danse de Lyon , Saisons 2010 > 2019

Video producer : Maison de la Danse

en fr

Salves

For her first production as director of the Centre Chorégraphique National in Rillieux-la-Pape, Maguy Marin's 'Salves' was a real hit at the last Biennial. A clearly political piece in the strongest sense of the word, 'Salves' masterfully condenses her journey and extraordinary vision of choreographic art. This piece of milimetric chaos, with its immense rhythmic score for seven performers and long-standing members and a breathtaking onstage precision, distils a colossal amount of restrained violence. 'Umwelt', 'Ha ! Ha !', 'Turba', 'Description d'un Combat' and now 'Salves': Maguy Marin's recent pieces may well be disturbing, but they are necessary for what they show and what they assert, from a present viewed as a field of ruins left behind by the great collective catastrophes of the 20th century.  

"When I began this new piece, I remembered that when we made 'Turba', there was something about Lucretius' 'De rerum natura'1 that had got us very excited: atoms are constantly deteriorating, but at some time while they are decreasing, they deviate from their course, which is called the clinamen. An atom only needs to deviate slightly from its parallel trajectory in order to collide with others, which could mean the birth of a new world, the invention of a new life form which could give way to incredible consequences. Similarly, in reference to Franz Kafka's parable on which our last piece, 'Description d'un Combat', was based, Hannah Arendt wrote that man's presence opens up a hole in the continuum of time between past and future, thus causing opposite forces to deviate very slightly from their initial direction, creating a diagonal force that resembles what physicians call a parallelogram of forces. Alluding to Walter Benjamin's ‘loss of experience’, which arose from the repeated collective catastrophes of the 20th century which transformed that present into a field of ruins devoid of integration into history – in other words, with neither memory nor future – Georges Didi-Huberman, in his book 'Survivance des lucioles'2
, suggests that we “elevate, in each specific situation, this decline into dignity, a new beauty, by making this very poverty into an experience following Walter Benjamin's example, a man for whom decline did not mean disappearance.” We must “organise pessimism”, Benjamin would say. That is, work to foster these resistant diagonal forces, the source of inestimable moments which survive forgetting; these voices which, from the dawn of time, have been making contact with us. We need to work on our pessimism and our fears to escape the prevailing fear that crushes us and renders us powerless, sad and exhausted. We do this with the support of seven performers, our partners in previous productions."


Source : Maguy Marin

Marin, Maguy

Born in Toulouse, dancer and choreographer Maguy Marin studied classical ballet at the Toulouse dance academy. She then joined the Strasbourg Dance Company and later Mudra, Maurice Béjart’s multi-disciplinary school in Brussels. In 1978, with Daniel Ambash, she founded the Ballet-Théâtre de l’Arche, which was to become the Compagnie Maguy Marin in 1984. The Centre Chorégraphique National de Créteil et du Val-de-Marne followed in 1985: its unremitting artistic work spread worldwide.
In 1987, Marin’s encounter with musician-composer Denis Mariotte was the starting point of a decisive partnership, which broadened the scope of experimentation.
Then in 1998, a new place to settle in, for a new Centre Chorégraphique National, in Rillieux-la-Pape: a place as a we in time and space to strengthen one’s ability to foster those diagonal forces resisting oblivion (H. Arendt).
The year 2011 saw a remodelling of the framework in which the company’s reflection and achievements unfold. After the intensity of the Rillieux-la-Pape years, there emerged a need for a new phase in Toulouse from 2012.
In January, 2015, Maguy Marin and the company find the region of Lyon. An installation to ramdam to Sainte-Foy-lès-Lyon, who engages the deployment of a new ambitious project: RAMDAM, un centre d’art.


Source : Compagnie Maguy Marin

More information : compagnie-maguy-marin.fr

Picq, Charles

Author, filmmaker and video artist Charles Picq 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.

More recently, he launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created the website numeridanse.tv, an international video library for dance online.

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

Salves

Artistic direction / Conception : Maguy Marin en collaboration avec Denis Mariotte

Artistic direction assistance / Conception : Ennio Sammarco

Interpretation : Ulises Alvarez, TeresaCunha, Romain Bertet, Kaïs Chouibi, Mayalen Otondo, Jeanne Vallauri, Vania Vaneau

Lights : Alexandre Béneteaud

Costumes : Louise Gros avec Pierre Treille (éléments d'accessoire), Nelly Geyres (réalisation des costumes)

Settings : Michel Rousseau (conception et réalisation)

Technical direction : Alexandre Béneteaud

Sound : Antoine Garry

Other collaborations : Christian Charlin (régie en tournée)

Production / Coproduction of the choreographic work : Coproduction Biennale de la danse de Lyon 2010, Théâtre de la Ville de Paris, Centre Chorégraphique national de Rillieux-la-Pape / cie maguy marin

Production / Coproduction of the video work : Maison de la Danse

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