Shot during the Festival de la Nouvelle Danse in Uzès in 2003, this film, composed like a quintet, mixes the choreographic universes of Javier de Frutos, Emmanuel Gat, Kitt Johnson, the Peeping Toms, Nathalie Pernette and Andreas Schmid. Transposed and interpreted in a natural setting, between woods and fields, the extracts of their works form a getaway into the landscapes of southern France.
This film does not seek to narrate any specific piece. Catherine Maximoff’s vision of dance focuses on the work of the interpreters, how the body and universes of each choreographer enter into resonance with the environment. By associating very different words, styles and writings, Uzès Quintet blends into matter and time and mixes elements at first sight unrelated. Sky, heat, light and vegetation are as important as the dancers. Movements of ensembles, duos and solos, situations sometimes more theatrical or acted – some images recall the stage and the spectacular dimension of choreographies – have no other purpose than the formation and variations of the landscape and how the dancers occupy, reveal and transform it.
Source : Irène Filiberti
De Frutos, Javier
Javier De Frutos was born in Venezuela in 1963 where he began his dance training in 1980, continuing at the London School of Contemporary Dance and at the Merce Cunningham School, New York.
From 1988 to 1992 Javier was a member of Laura Dean Dancers and Musicians in New York. In 1992, he was appointed Choreographer in Residence at Movement Research in New York City. On his return to the UK in 1994 he established the Javier De Frutos Dance Company which toured to great acclaim around the world. Javier’s work is in the repertoire of many ballet and contemporary dance companies.
Source : Scottish Ballet
Challenge, blows received, given, hand to hand with the invisible, a raw energy carved by meticulous movements.
As well as manipulating others' bodies to capture their articular mobility, Nathalie Pernette anchors movement in spontaneity, the emotional discharge fed by interior sensation.
In this dancer-choreographer, classically trained since childhood, dance is nimbly embodied, verylintense and angular. Instinct and discipline against a background of permanent enquiry. Her time at Françoise and Dominique Dupuy's school only confirmed this zeal.
After working for twelve years with Andréas Schmid, she founded her own company in 2001 and kept up the repertoire of earlier works.
Whether out and about in town or on stage, Nathalie Pernette is always alert, always testing her theories, pursuing her obsessions. At length, with passion and with that dose of lucidity befitting a true researcher's spirit that is never satisfied. Over sixteen years and sixteen shows (six of which were in partnership with Andréas Schmid), Nathalie Pernette has turned work into a virtue.
Updating: November 2010
Emanuel Gat was born in Israel in 1969. He started dancing at the age of 23 during a workshop led by Israeli choreographer Nir Ben Gal. Few months later he joined the Liat Dror Nir Ben Gal Company with whom he toured internationally. He started working as an independent choreographer in 1994.
Ten years later, Emanuel founded his company Emanuel Gat Dance at the Suzanne Dellal Centre in Tel Aviv, with whom he has created several pieces of which « Winter Voyage » (2004) and « The Rite of Spring » (2004) won a Bessy Award; « K626 » in 2006 and « 3for2007 » in 2007, before choosing to settle in France, at the Maison Intercommunale de la Danse in Istres. « Silent Ballet » (2008) was the first piece created in France, followed by « Winter variations » in 2009 and « Brilliant Corners » in 2011.
In 2013, Emanuel Gat was associated artist to the Montpellier Danse Festival for which the company developed the project « Up Close Up » proposing two new works : « The Goldlandbergs » and « Corner Etudes », a photographic installation « It’s people, how abstract can it get ? » and a choreographic event « Danses de Cour ».
In 2014 Emanuel Gat creates "Plage Romantique", a one hour work for 9 dancers, in the Agora courtyard during the 34th Festival Montpellier Danse.
Emanuel is associated choreographer to Montpellier Danse Festival for the seasons 16-18, and has presented « Sunny », a choreography for 10 dancers, as his first piece within this association at the festival during summer 2016. The work is a collaboration with musician Awir Leon, former dancer with the company, who is playing live for this piece. Emanuel is currently preparing his second project as part of his residency at Montpellier Danse, which will include two productions; a unique collaboration with the Ballet de l'Opera de Lyon, « Tenworks » (for Jean-Paul), a program of ten short new pieces mixing dancers from both companies, and « Duos », a série of duets presented at different public locations around the city of Montpellier during the festival.
Emanuel is regularly invited to set his work and create new choreographies for dance companies around the world including: The Paris Opera Ballet, Sydney Dance Company, Tanztheater Bremen, Le Ballet du Grand Théâtre de Genève, Ballet de Marseille, The Royal Swedish Ballet, Polish National Ballet, Ballet de Lorraine, Cedar Lake, Ballet British Colombia and Ballet de l'Opera de Lyon among others.
Source : Emanuel Gat 's website
Gabriela Carrizo (I/AR) and Franck Chartier (F) founded Peeping Tom in 2000. Together they created a first location project that was taking place in a trailer home, Caravana (1999), with would-be long-time collaborator Eurudike De Beul, followed by the film Une vie inutile (2000).
Peeping Tom’s hallmark is a hyperrealistic aesthetic anchored to a concrete set: a garden, a living room and a basement in the first trilogy ( Le Jardin , 2002; Le Salon , 2004; and Le Sous Sol , 2007), two trailer homes in a snow-covered landscape in 32 rue Vandenbranden (2009), or a burned theatre in A Louer (2011). In these, the directors create an unstable universe that defies the logic of time and space. Isolation leads to an unconscious world of nightmares, fears and desires, which the creators deftly use to shed light on the dark side of a character or a community. The huis clos of family situations remains for Peeping Tom a major source of creativity. The company has started working on a second trilogy – Vader (Father), Moeder (Mother), Kinderen (Children) – around this theme, with Vader (Father) already having premiered.
In 2005, Le Salon was awarded the Prix du Meilleur Spectacle de Danse (Best Dance Show Prize) in France. In 2007, the company received the Mont Blanc Young Directors Award during the Salzburg Festival and the Patrons Circle Award at the Melbourne International Arts Festival. The pieces Le Sous Sol , A Louer and Vader (Father) all got selected for the Theaterfestival, which gathers the most remarkable shows of the past season in Belgium and The Netherlands. In 2013, A Louer was nominated for the prestigious Ubu Awards in Italy, in the category Best Performance in Foreign Language, during the theatrical season 2012-2013. 32 rue Vandenbranden was elected Best Dance Show of the Year 2013 in São Paulo (BR) by magazine Guia Folha and won in 2015 a prestigious Olivier Award, in the category 'Best New Dance Production'.
Peeping Tom's latest production, Vader (Father), is the first part of the trilogy Father-Mother-Children. It premiered on 10 May 2014 in Theater im Pfalzbau (Ludwigshafen, DE). Apart from being in the official selection of the Theaterfestival 2015, it was also elected Best Dance Performance of 2014 by Dutch newspaper NRC Handelsblad. The jury of the 'Premios de la Crítica Barcelona' awarded Vader in its turn with a first prize in the category 'Best International Dance Production of 2014'.
Source: Peeping Tom
More information : peepingtom.be
Artistic direction / Conception
Production / Coproduction of the video work
Heure d'été Productions, Arte/France. Participation : CNC, Festival de la Nouvelle Danse/Uzès, CG Gard, procirep, CR Languedoc-Roussillon Contact