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The Spectator's Moment : La fille mal gardée

The Spectator's Moment : La fille mal gardée

The spectator's moment

The Spectator's moment or how to discover an artist, a piece of work or a company in just two minutes. It is a collection of programmes produced by the Maison de la Danse in Lyon and presented by Dominique Hervieu. Each episode is devoted to an artist or a company that is programmed at the Maison de la Danse and offers the public keys or artistic benchmarks for better understanding and appreciating the choreographic art.
 



© Maison de la Danse de Lyon

Dauberval, Jean

Jean Dauberval (1742-1806). French dancer, choreographer and educator.
Son of an actor with the Comédie-Française, he was trained at the dance school of the Académie Royale de Musique (ARM) in Paris. He appeared on stage in Bordeaux, Lyon (where he worked with J. G. Noverre) and Turin before debuting on stage at the ARM in 1761. Although he joined Noverre in Stuttgart (1762-1764) then London (1764), he spent most of his career performing at the ARM, where he was appointed principal Demi-Caractère dancer in 1763, then principal Noble dancer in 1770. Becoming a Ballet Master at the ARM together with Maximilien Gardel in 1781, he resigned in 1783, as the two were unable to get along. He then became Ballet Master at the King's Theatre in London (1783-1784) then at the Grand Théâtre in Bordeaux, where he created, from 1785 to 1790, a repertoire that highlighted his dancer wife, Mademoiselle Théodore, and at the Pantheon Theatre in London in 1791-1792, where he produced his last ballet.
Greatly appreciated as a dancer by Noverre, who considered him full of spirit, taste and intelligence, he excelled in the allegro dances. A partner of J.-B. Lany, Marie Allard and Marie-Madeleine Guimard, he appeared in a number of operatic works (including by J.-Ph. Rameau and C. Gluck) and participated in the creation of pantomime ballets by Gardel (“La Chercheuse d'esprit", 1777) and Noverre (“Les Petits Riens", 1778).
He scored his first choreography in 1759 in Turin (Il Trionfo di Bacco in Tracia), but was at his best from 1785 on in Bordeaux. He began by creating serious works then turned to lighter, Anacreontic subjects (inspired by the Greek poet Anacreon)- "Pygmalion", 1785; “Psyche", 1788; "Télémaque Dans l’Ile de Calypso", 1791 - or he included ordinary characters in the comic mode (“Le Page Inconstant" and “L’Épreuve Villageoise", 1787; “La Fille Mal Gardée", 1789; “La Foire de Smyrne" and “Les Amants Réunis", 1792).
Rather than dazzle the audience, he sought to touch their hearts. Skilled at presenting the characters, he blended dance and pantomime, demanding of his performers solid technique allied with varied expressive displays. S. Viganò, C.-L. Didelot, J.-P. Aumer and E. Hus were among his students.

Source: Dictionnaire de la Danse, Larousse, éd. 1999, en ligne

More information

larousse.fr

Cramér, Ivo

Born in 1921.

Swedish ballet dancer, choreographer and director.

A student of S. Leeder and a disciple of B. Cullberg, he developed a personal method influenced by the Laban-Jooss technique. In 1946, he founded his first, itinerant company with B. Cullberg and received second prize at the Copenhagen Choreographic Competition in 1947. He was ballet director at the Verde Gaio in Lisbon (1948-1949), he then worked for ten years as director and choreographer on operettas and musicals.
In 1957, for the Royal Swedish Ballet, he produced “The Prodigal Son" (1957, mus. Alfven), a ballet inspired by rural 18th C paintings and considered “national” masterpieces, and still part of the company’s repertoire. With his wife, Tyyne Talvo, he founded a company (1967-1986) that crossed the country with their productions, including in small theatres. He then directed the Royal Swedish Ballet (1975-1980).
He was a prolific and skilled choreographer with a great sense of theatre. He often dealt with themes connected to history or everyday life and stamped with a deep sense of the religious. In the 1980s, he specialised in the reconstruction of old ballets, including "Arlequin, Magicien d’Amour" (1984, based on Marcadet), “La Dansomanie" (1985, based on P. Gardel), "Médée et Jason" (1992, based on Noverre), presented at the Historic Theatre of Drottningholm, and also in France, thanks to R. Nureyev, as ”La Fille Mal Gardée" (1989) was performed in Nantes with the original score.

Source: Dictionnaire de la Danse, Larousse, éd. 1999, en ligne

Plasson, Fabien

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

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