Worked since the origin of time, the rock, now sand and mud, lets beings that are half-reptile, half-human emerge. In rocky crevices swept by waves, males and females mate and handle each other in long-forgotten primitive rituals, gestures consisting in crawling and touching, mainly organic and animal.
On the beaches of Calabria, Maguy Marin has found the paradise that she often seems to be seeking with her dancers (Babel Babel, Eden, etc.). The subaquatic scenes, the foam and surf shots, the colourful images of gleaming minerals are all metaphors for the original coitus. The film invents that mythical place where the elements are not yet totally separated and human beings are only just emerging from their gangue.
Source : Patrick Bossatti
Maguy Marin was born in Toulouse in 1951 and studied dance at the conservatory there before joining the Strasbourg Ballet. In 1970 she was accepted at Maurice Béjart’s school Mudra, where she stayed three years before becoming a soloist (for four seasons) with the Ballet of the 20th Century, under the direction of Maurice Béjart. A turning point would come at the end of this period seeing her shed all her previously held conceptions “allowing a multitude of creative choices, liberty and also constraints to emerge. Nothing was ever the same”. She also began questioning the body types idealized within the dance world, a subject that would become central in her work. “With Maurice Béjart the body was magnified. Youth, virtuosity, everything sparkled. And I had a problem with that. I asked myself what happened to all those other bodies, the ones that were infirm, misshapen or uncoordinated, but who managed to keep standing nonetheless.”
Between 1980 and 1997 Maguy Marin was based at the Maison des arts in Créteil, with her company becoming an official Choreographic Centre in 1985.
From 1998 until 2011 she directed the National Choreographic Centre in Rillieux-la-Pape. After which time the company once again became independent, setting up in Toulouse in order to continue their creative research. In 2015 the company moved again, this time to Sainte Foy-lès-Lyon, where they set up in an old carpentry factory. Their tenure there would allow them to continue to open up the immaterial space of that which is shared, something that obstinately seeks to make itself manifest while encouraging the unfolding of a new ambitious project: RAMDAM, AN ART CENTRE. It is a place of horizontal sharing, dedicated to hosting artists and audience members alike. It is also a place intent on facilitating an on-going exchange and continuous circulation between those conducting research, amateurs, students, spectators and volunteers; as well as creating bridges between different artistic practices, laboratories, places for public relations, education and reflection.
- 1978: Grand Prix du Concours chorégraphique international de Bagnolet - 2003: Grand Prix de la danse du Syndicat de la critique for
Les applaudissements ne se mangent pas
- 2003: American Dance Festival Award
- 2006: Special jury prize Syndicat de la critique for Umwelt
- 2008: Bessie Award for Umwelt presented at the Joyce Theater
- 2008: Grand Prix de la danse du Syndicat de la critique for Turba
- 2011: Prix Danza & Danza for “Best Contemporary Dance Piece » for Salves - 2016: Golden Lion, Venice Biennale
More information : compagnie-maguy-marin.fr
Héléna Berthelius, Luna Bloomfield, Raymond Brisson, Frédéric Cornet, Yann Gerbron de Graval, Christiane Glik, Mychel Lecoq, Françoise Leick , Sylvie Péron, Cathy Polo, Jean-Marie Rase, Anna Rodriguez, Adolfo Vargas, Karin Vyncke
Production / Coproduction of the video work
Daniel Ambash (réalisation) ; Arcanal, Starcam, Cie Maguy Marin / Participation : ministère de la culture