In a landscape confounded by the news of mass violence, iconoclastic destruction and profound upheavals, COUP DE GRÂCE explores the ambivalent appropriation and semantic fragmentation of the word “grace.” We’re betting on the scenic force of a collection of incompatible images and gestures that evoke the paths taken to reach this sublime state. On stage, a three-dimensional study in lasciviousness is associated with the gestural and spatial repercussions of feelings and actions related to terror: panic, fear, frantic escape, indecisive wavering and collapse.

Apart from the acrimoniousness and the energy generated by the idea of violence, the poetic references and resources notably include: the impervious face of The Mona Lisa, the double personality in romantic dance, the martyr figure in religious painting, The Garden of Earthly Delights by Hieronymus Bosch, the progressive rock of Pink Floyd, as well as the lyrical attraction of the moon.

As we helplessly witness the conflicts that humanity is now experiencing, Michel Kelemenis reconsiders one of his most haunting questions: can grace arise from disgrace?

In a landscape confounded by the news of mass violence, iconoclastic destruction and profound upheavals, COUP DE GRÂCE explores the ambivalent appropriation and semantic fragmentation of the word “grace.” We’re betting on the scenic force of a collection of incompatible images and gestures that evoke the paths taken to reach this sublime state. On stage, a three-dimensional study in lasciviousness is associated with the gestural and spatial repercussions of feelings and actions related to terror: panic, fear, frantic escape, indecisive wavering and collapse.
Apart from the acrimoniousness and the energy generated by the idea of violence, the poetic references and resources notably include: the impervious face of The Mona Lisa, the double personality in romantic dance, the martyr figure in religious painting, The Garden of Earthly Delights by Hieronymus Bosch, the progressive rock of Pink Floyd, as well as the lyrical attraction of the moon.
As we helplessly witness the conflicts that humanity is now experiencing, Michel Kelemenis reconsiders one of his most haunting questions: can grace arise from disgrace?

French dancer and choreographer born in Toulouse in 1960.

After training as a gymnast, Michel Kelemenis begins dancing in Marseille at the age of 17. In 1983, he performs in the Centre Chorégraphique National de Montpellier with Dominique Bagouet and choreographs his first works, among which Aventure coloniale with Angelin Preljocaj in 1984. He was awarded the Villa Médicis Hors les Murs prize in 1987, and founded Kelemenis & cie (Association Plaisir d’Offrir) in the same year. In 1991, he received the Leonardo da Vinci scholarship and Japan’s Uchida Shogakukin fund. His numerous works (more than 60, of which 40 for his company) are performed throughout the world.

In love with movement and dancers, with those exceptional moments when gesture topples a role, Michel Kelemenis structures his works around the search for a balance between abstraction and figuration.

For his personal style, which combines finesse and athletic performance, the choreographer is invited to work with the ballets of the Paris Opera, the Rhin Opera, the Opera du Nord, the Geneva Opera and the Ballet National de Marseille.

In 2000, he directed the lyric and choreographic drama, L’Atlantide, by Henri Tomasi for the Marseille Opera. He has since collaborated with the Festival d’Art Lyrique of Aix-en-Provence: in 2003, he put to movement 4 animalacrobats in Stravinsky’s Renard, directed by Klaus-Michaël Grüber and conducted by Pierre Boulez; in 2004, he assisted Luc Bondy for the chorus movements in Handel’s Hercules, conducted by William Christie.

Since 2008, he starts a reflexion about narration concept, with an approach of creation for young audience.

Through Franch Institute, he participates regularly with French cultural services abroad in Krakow, Kyoto, Johannesburg and Los Angeles, in India, Korea and China. These trips engender training projects, new productions and bilateral exchanges with foreign companies and artists employing various modes of expression.

Numerous programs are organized in higher education and professional training institutions (Coline, Ecole Nationale de Danse de Marseille, and especially with the Conservatoire National Supérieur de Musique et de Danse de Lyon).

The 10th of december 2007, after 10 years of activity at the Studio/Kelemenis, the Conseil Municipal of Marseille votes in favor of the project Centre de danse en résidence conceived and initiated by the choreographer. Intituled KLAP Maison pour la danse, Construction begins in February 2010 with a completion date planned for spring of the following year.

Source : Kelemenis&cie

More information : http://www.kelemenis.fr/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