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Grenade les 20 ans

After having patiently, for years, mixed with contemporary dance the cultures and styles of neighbourhoods and thus created a “Grenade energy”, I felt a real need for openness. I then came up with the idea of proposing all the dancers of the Grenade company, adults and children alike, to choreographers accepting to rework or develop a piece from their repertoire. Names were obvious: Jean-Claude Gallotta, Angelin Preljocaj, Jean-Christophe Maillot, Michel Kelemenis, Philippe Decouflé, Abou Lagraa. And they all said “yes” to the project with the greatest simplicity. The project thus took on proportions that I hadn’t imagined at the start. The more we progressed in this artistic adventure, the more I realised how difficult the proposal really was. These choreographers all possess a highly personal and original style, meaning that the dancers of the Grenade company must be able to interpret a very broad panel of dance forms. 

In the works, they have to find a quality and a presence corresponding to the writing of each choreographer: the youngest must reproduce the fast, frenzied style of Jean-Claude Gallotta in Mammame as well as the madness of his interpreters; Philippe Découflé’s funny duet danced by Christophe Salengro and Cathy Savy has been entrusted to young interpreters;  Michel Kelemenis’s deep and moving Faune is interpreted by a teenager; Angelin Preljocaj’s jerky and repetitive work, Marché Noir, must maintain its right balance with preteen dancers aged 11 to 14; Jean-Christophe Maillot’s airy score Vers Un Pays Sage, combining technique, lightness and rapidity, will encourage the older dancers to excel themselves in a neo-classical approach to dance; the professional company will find cultural mixing and fluidity with Abou Lagraa’s jubilant Allegoria Stanza.

Baïz, Josette

Josette Baïz, who was trained by Odile Duboc, has been teaching contemporary dance since 1978 in Aix-en-Provence, where she created her first choreographies for young dancers who took part in her classes.

In 1982, when she was a dancer for Jean-Claude Gallotta, Josette Baïz won first prize in the 14th edition of the Bagnolet International Choreographic Competition, as well as the public prize and the French Minister for Culture's prize. She went on to found her first company: The Place Blanche, and has since created over 40 works, for her own companies and for an array of national (Toulouse, Jeune Ballet de France of the Lyon Conservatory, etc.) and international ballets (Boston, Royal Ballet of Phnom Penh, Germany, Venezuela, The Netherlands, etc.).

In 1989, the French Minister for Culture invited her for a year as artist in residence for a school in the Northern districts of Marseille. This encounter with young people, from a variety of cultures and backgrounds, led her to reconsider the signification of her work and to radically modify her artistic approach.
The confrontation with proposals as diverse as breakdance, smurf, hip-hop, oriental, gypsy, Indian and African dance, obliged her to totally reappraise the physical and mental skills she had acquired.
She was totally unacquainted with the supports, the way the ground was used, the circular movements of the hips, the sharp strikes of flamenco and the loosened pelvis of African dances.

And so, a process of mutual exchange was initiated: Josette Baïz taught contemporary, classical dance and composition in research workshops; the young dancers taught her their way of asserting their origins and feelings.

It was, therefore, only natural for Josette Baïz to create the Groupe Grenade, which brought together over thirty young dancers, in 1992. In 1998, Josette decided to perpetuate the cross-cultural work undertaken with the Groupe Grenade, whilst continuing to pursue an intensely contemporary perspective. She created the compagnie Grenade which comprised five key dancers from the Groupe Grenade.

Josette Baïz's wish is to continue to enhance this choreographic repertoire by continuing to partner artistically with French and international choreographers; by taking part in cutting-edge and original multidisciplinary projects and, as such, initiating encounters and exchange.

Source : Grenade - Josette Baïz Cie 's website

More information

josette-baiz.com

 

Decouflé, Philippe

Dancer, choreographer, director and art director


As a child, I dreamt of becoming a comic book artist. Drawing is usually the start of my creative process. I just throw out ideas and sketch out pictures that pass through my head. My culture is comics, musicals, nightclub dancing, and also Oskar Schlemmer, the Bauhaus choreographer. Discovering photos of characters from his Triadisches Ballett was a revelation for me. I had always wanted to work with simple geometric shapes like cubes and triangles. I liked seeing how these lines and volumes behaved with each other. Alwin Nikolaïs taught me the importance of light and costume, and the confidence you need to mix everything together. Technically, it was Merce Cunningham who taught me the most about dance. I was taking video courses he was giving in New York. It was fascinating. That’s where I learned how to solve problems of distance and geometry, and the basic principles of optics and movement. Tex Avery inspired me a lot in thinking up gestures that are almost impossible to do. I’ve always kept something of that desire to create something strange, extreme or crazy in my movements. I’m looking for a dance style that’s off-balance, always on the verge of toppling over. With influences like the Marx Brothers, for example, and in particular Groucho Marx, I’ve developed a taste for naughty risk-taking, and comic repetition of mistakes.


Source : Philippe Découflé


More information : cie-dca.com

Gallotta, Jean-Claude

After a trip to New York in which he discovered the work of Merce Cunningham, Lucinda Childs, Steve Paxton, Trisha Brown, Stuart Sherman and Yvonne Rainer, Jean-Claude Gallotta – with Mathilde Altaraz – founded the Émile Dubois Group in Grenoble in 1979, which, in 1981, joined the Grenoble Arts Centre as a dance creation unit. This was where Ulysse was born, a playful ballet using both classical and modern vocabularies.

The Émile Dubois Group became the National Choreographic Centre and took up Ulysse again in 1984 for the Olympic Games Festival in Los Angeles, the American Dance Festival, the Holland Festival and the Avignon Festival.

This was followed by: Les Aventures d’Ivan Vaffan, Les Louves and Pandora. In 1986, Jean-Claude Gallotta was asked to be the director of the Grenoble Arts Centre – renamed “Le Cargo” -, thereby becoming the first choreographer to be appointed to run this type of institution.

In 1987, the ballet Mammame was performed at the Montreal International Festival of New Dance: the Canadian press (dance and theatre) awarded him the prize for the Best Foreign Performance of the Year. In 1989, after some ten audiovisual collaborations with, for example, Claude Mouriéras and Raoul Ruiz, Jean-Claude Gallotta produced his first full-length film: Rei Dom – La Légende des Kreuls. This was followed by Docteur Labus and Les Mystères de Subal. 

Jean-Claude Gallotta then resigned as director of the Grenoble Arts Centre and published his first book, Mémoires d’un dictaphone.

During the 1991-1992 season, two choreographic creations combining dance, words and music were performed: La Légende de Roméo et Juliette, performed in November 1991 for the Albertville Olympic Arts Festival, and La Légende de Don Juan, performed in June 1992 for the Universal Exhibition in Seville, as a joint production with the Avignon Festival. Jean-Claude Gallotta then shot his second full-length film: l’Amour en deux.

1993: publication of Les Yeux qui dansent (interviews with Bernard Raffalli).
  In July of the same year, Jean-Claude Gallotta recreated Ulysse at the Châteauvallon Festival. This was followed by a long international tour.

1994: Prémonitions, a new choreography created in Grenoble. 1995: at the request of ‘Lyon Opéra Ballet’, Jean-Claude Gallotta composed La Solitude du danseur, four solos performed to music by Erik Satie. Gallotta then worked with Nicholas Hytner and Sir Charles Mackerras to produce La Petite Renarde Rusée, an opera by Leos Janacek, performed by the Théâtre du Châtelet.

At the Châteauvallon Festival, Jean-Claude Gallotta choreographed and performed the solo Hommage à Pavel Haas. In Grenoble, he created La Tête contre les fleurs for the company. This was followed in 1996 by Rue de Palanka, and in 1997, La Rue (an event for 3,000 spectators) and the creation of La Chamoule ou l’Art d’aimer.

A longstanding collaboration was set up with Japan, at the invitation of the director Tadashi Suzuki: from 1997 to 2000, Jean-Claude Gallotta ran the dance department at the new Shizuoka Performing Arts Centre, training and directing a permanent company of eight Japanese performers. In 1998, Jean-Claude Gallotta also directed Le Ventriloque by Jean-Marie Piemme and Le Catalogue by Jean-Bernard Pouy, and wrote Pierre Chatel for “l’Adieu au siècle”.

Jean-Claude Gallotta created Les Variations d’Ulysse for the Paris Opera Ballet, which was performed at the Opéra Bastille in 1995, and repeated in 1998. He also created Nosferatu in May 2002 to music by Pascal Dusapin; the ballet was performed again in spring 2006 at the Opéra Bastille.

In 1999, he created Presque Don Quichotte at the Douai Hippodrome; the piece was also performed in Shizuoka, Japan. In 2000, he created l’Incessante, a solo for Mathilde Altaraz, at the Avignon Festival as part of Le Vif du Sujet. In 2001, he created Les Larmes de Marco Polo for the Lyon International Biennial.

In 2002, he created 99 duos at the Chaillot National Theatre, the first part of a trilogy on ‘People’. In 2003, he prepared Trois générations for the Avignon Festival, which was eventually cancelled. The piece, which includes children, former dancers and the Company, was performed at the Rampe d’Echirolles in March 2004.

It was performed in May of the same year at the Chaillot National Theatre and was repeated in November 2005. The same year, he worked with the director Hans-Peter Cloos to produce a show combining dance, theatre and music, Les sept pechés capitaux by Bertolt Brecht and Kurt Weill. In 2006, he created Des Gens qui dansent, the third part of the trilogy initiated by 99 duos and Trois Générations and, in 2007, he repeated his flagship piece from the 80s, Ulysse, under the title Cher Ulysse.

In 2008, Bach danse experience with Mirella Giardelli and “L’Atelier des Musiciens du Louvre”; Armide by Lully with the conductor William Christie and the director Robert Carsen at the Théâtre des Champs-Elysées, Paris; Chroniques chorégraphiques - season 1, a sort of “stage movie” that allowed him to pursue his poetic research into genres and people.

In 2009, he created l’Homme à tête de chou, with the original words and music by Serge Gainsbourg in a version recorded for the show by Alain Bashung. In April 2011, he performed a solo with Faut qu’je danse ! as a prelude to the recreation of his trio Daphnis é Chloé in Grenoble.

In October 2011, again in Grenoble and with a piece for thirteen dancers, he took on Igor Stravinsky’s Le Sacre du printemps, which he presented in April 2012 at the Chaillot National Theatre, Paris, along with Tumulte and Pour Igor in the first part.

At the end of 2012, he is to present Racheter la mort des gestes - Chroniques chorégraphiques 1 at the Théâtre de la Ville, then at MC2; in early 2013, his recreation of Yvan Vaffan (first performed in 1984) will enable him to continue his work on the repertoire, alternating with his creations and thereby pleading for a certain “continuity in art” and seeking patiently to share with his audience the same story: the story of a shared artistic history and future.

In October 2013, he directed the singer Olivia Ruiz in El Amor Brujo byManuel de Falla, a piece presented together with Stravinsky’s The Soldier’s Tale, a show on which he worked together with the conductor Marc Minkowski and the director Jacques Osinski.

For the 2014-15 season, he presented The Rite and its Revolutions (including the first performance of Xenakis’s Jonchaies and Six Pieces for Orchestra, op. 6 by Webern (Homage to Angela Davis) at the Philharmonie de Paris, and in June he gave the first performance of The Stranger, based on the novel by Albert Camus at the MC2 in Grenoble.

He is opening the 2015-2016 season with My Rock at the MC2 in Grenoble, and at the Théâtre du Rond-Point in Paris.

In 2009, he adapted Serge Gainsbourg's album l'Homme à tête de chou (performed for the occasion by Alain Bashung), created with singer Olivia Ruiz, Volver, presented in 2016 at the Biennale de la danse de Lyon; he also worked on rock figures with My Rock (2004) then My Ladies Rock (2017). In September 2017, the Adami, Maison des artistes interprètes and the Théâtre du Rond-Point gave him carte blanche to stage two exceptional evenings around the work of Bob Dylan, with performers from all disciplines, including the group Moriarty.

Since the end of 2015, Jean-Claude Gallotta has been associate author at the Théâtre du Rond-Point in Paris. The Groupe Émile Dubois is housed at the MC2: Grenoble.

In September 2018, he presented Comme un trio, based on Bonjour Tristesse by Françoise Sagan, and the re-creation of l'Homme à tête de chou at the Printemps de Bourges festival in April 2019. He is preparing a new creation for the autumn of 2020, entitled Le Jour se rêve, with musician Rodolphe Burger and visual artist Dominique-Gonzalez Foerster.

More information : www.gallotta-danse.com

Kelemenis, Michel

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/

Lagraa, Abou

Born in Annonay, Abou Lagraa began dancing at the age of 16 before entering the Conservatoire National Supérieur de Musique et de Danse, Lyon. He began his career as a dancer at the S.O.A.P. Dance Theatre, Frankfurt with Rui Horta and became his assistant on a project at the Calouste Gulbenkian Centre, Lisbon. He was soon noticed and went on to work with Robert Poole, Denis Plassard and Lionel Hoche. His qualities as a performer have been rewarded twice:  in 1998 by the 2nd Prize for performance at the Paris International Dance Competition, then in 2009 by the prize for Best Male Dancer, awarded by the International Movimentos Dance Prize. In 1997 he founded his own company, La Baraka.


Once again, recognition came quickly; numerous French venues programmed the young choreographer and he received proposals for collaboration. As a result, after 4 years as an associated artist at Bonlieu Scène Nationale in Annecy, since 2009 Abou Lagraa and his company have been hosted in production residency at Gémeaux Scène Nationale, Sceaux. The fame of the company spread rapidly beyond France's borders and tours followed one after the other, throughout Europe and also in the United States, Algeria, Tunisia and Indonesia… Alongside his work with the company, Abou Lagraa is regularly in demand by large organisations.

In 2001 he devised Fly, Fly for the CCN Ballet de Lorraine. This piece later was subsequently added to the repertoire of the ABC Dance Company of St Pölten in Austria.


In 2003 he devised a work for the second-year students of the Centre National de Danse Contemporaine, Angers, then in 2007 for the pupils of the Frankfurt Hochschule and the pupils of the Centre Méditerranéen de Danse Contemporaine, Tunis.

In 2006 his work entered the repertoire of the Paris Opéra Ballet with Le Souffle du Temps, a piece for 21 dancers, including 3 étoiles (Marie-Agnès Gillot, Manuel Legris, Wilfried Romoli). Then, in 2008, he composed Everyone's One at the invitation of Ballet Memphis (USA).


Since 2009, in association with the Algerian Ministry of Culture and th Algerian Agency for the Cultural Brilliance, he works, with Nawal Aït Benalla-Lagraa, in the elaboration of a “Mediterranean Cultural Bridge", the project of French-Algerian cooperation for the development of the dance and the artistic exchanges which will contain a program of Training and creation. In this frame, he sees confiding for July, 2009, the choreography of Closing ceremony of the 2nd Pan-African Festival of Algiers. In 2010, he creates the Ballet Contemporain d'Alger, under the Nawal Aït Benalla-Lagraa's educational responsibility, with a first piece NYA. The success of which ends in several national and international tours.


This piece was to be distinguished in 2011 when it was awarded the Grand Prix de la Critique as “Best Choreography of the Year”.

In 2016, he becomes the « Dream up » ambassador, an international arts-based education programme set up by the BNP Paribas foundation. This programme will help some 30,000 underprivileged or disabled children and teenagers to develop and find fulfilment by practising an artistic or creative activity. 


In 2016, he becomes “Chevalier des arts et des lettres” nominated by the French ministry of culture. 


Source : Cie La Baraka


More information : https://www.aboulagraa.fr/ 

Maillot, Jean-Christophe

Rosella Hightower liked to say of her student Jean-Christophe Maillot, that his life was just a union of opposites. In fact, for the current Choreographer-Director of the Ballets de Monte-Carlo, dance combines with theatre, enters the ring under a big top, evolves into the arena of visual arts, is fuelled by the most diverse scores and explores different forms of literature... His repertoire of 80 ballets (35 created in Monaco) draws from the world of art in the broadest sense and each ballet is a sketch book which feeds the following work. Thus, over 30 years, Jean-Christophe Maillot has created an ensemble of sixty pieces ranging from great narrative ballets to shorter formats, and where multiple connections reflect a work which forms part of the history and diversity. Neither classical nor contemporary, not even between the two, Jean-Christophe Maillot refuses to adhere to one style and designs dance like a dialogue where tradition on pointes and the avant-garde are no longer mutually exclusive. 

Born in 1960, Jean-Christophe Maillot studied dance and piano at the Conservatoire National de Région de Tours, before joining the Rosella Hightower International School of Dance in Cannes until winning the Prix de Lausanne in 1977. He was then hired by John Neumeier at the Hamburg Ballet, where he danced in principal roles as a soloist for five years. An accident brought his dancing career to an abrupt end. 

In 1983, he was appointed choreographer and director of the Ballet du Grand Théâtre de Tours, which later became a National Centre of Choreography. He created around twenty ballets for this company and in 1985, founded the Dance Festival, "Le Chorégraphique". In 1987, he created Le Mandarin Merveilleux for the Ballets de Monte-Carlo, which was a great success. He became the company's Artistic Advisor for the 1992-1993 season and was then appointed Director-Choreographer by H.R.H. the Princess of Hanover in September 1993. 

His arrival at the Ballets de Monte-Carlo set the company on a new path that quickly developed the level of maturity and excellence for which this company of 50 dancers has been renowned for 20 years. He has created almost 40 ballets for the company, some of which, such as Vers un pays sage (1995), Romeo and Juliet (1996), Cinderella (1999) La Belle (2001), Le Songe (2005), Altro Canto (2006), Faust (2007), LAC (2011), CHORE (2013) and Casse-Noisette Compagnie (2013) have forged the reputation of the Ballets de Monte-Carlo across the world. Several of these works are now included in the repertoires of major international ballet companies, such as the Grands Ballets Canadiens, the Royal Swedish Ballet, the Korean National Ballet, the Stuttgart Ballet, the Royal Danish Ballet, the Ballet du Grand Théâtre de Genève, the Pacific Northwest Ballet, the American Ballet Theatre and the Béjart Ballet Lausanne. In 2014, he creates La Mégère Apprivoisée for the Ballet of Bolshoi Theatre.

Also aware of the work of other artists, Jean-Christophe Maillot is known for his spirit of openness and his commitment to inviting choreographers with a different style to create for the company. In 2000, this same desire to present the choreographic art in all its many forms led him to create with Stéphane Martin the Monaco Dance Forum, an international showcase for dance which presents an eclectic proliferation of shows, exhibitions, workshops and conferences.

In 2007, he produced his first stage opera, Faust for the Hessisches Staatstheater and in 2009 Norma for the Monte-Carlo Opera. In 2007, he created his first choreographic film with Cinderella then Le Songe in 2008. In 2009, he developed the content and coordinated the Centenary of the Ballets Russes in Monaco, which would see over 50 companies and choreographers pass through the Principality in one year, providing entertainment for 60,000 audience members. In 2011, dance in Monaco underwent a major and historical change. Under the presidency of H.R.H. the Princess of Hanover, the Ballets de Monte-Carlo now incorporates the Ballets de Monte-Carlo Company, the Monaco Dance Forum and the Princess Grace Academy under a single organisation. Jean-Christophe Maillot was appointed head of this organisation which now unites the excellence of an international company, the benefits of a multi-format festival and the potential of a high-level school.

DISTINCTIONS

1993 : Appointed Chevalier of the Ordre des Arts et des Lettres by The Minister of Culture Jack Lang.

1999 : Appointed Officier of l’Ordre du Mérite Culturel de la Principauté de Monaco by S.A.S. Rainier III.

2002 : Appointed Chevalier of the Légion d’Honneur by The president of the Republic Jacques Chirac.

2005 : Appointed Chevalier of the Ordre de Saint-Charles par S.A.S. Albert II de Monaco.

2014 : Appointed Commandeur of the Ordre du Mérite Culturel de la Principauté de Monaco by S.A.S Albert II de Monaco.

2015 : Appointed Commandeur of the Ordre des Arts et des Lettres by The Minister of Culture Fleur Pellerin.

2016 : Received the Médaille Pouchkine.

2018 : Received the Life Time Achievement Award Prix de Lausanne.

AWARDS

2001 : « Nijinsky » award of the Best production for La Belle.

2002 : « Danza & Danza » award of the Best performance for La Belle

2008 : « Benois de la Danse » of the Best choreographer for Faust, awarded by Yuri Grigorovitch in Moscou.

En 2010 : « Premio Dansa Valencia 2010 ».

En 2015 : Golden Mask of the Best performance for La Mégère Apprivoisée. Thanks to this choreography, Ekaterina Krysanova received the Golden Mask of the Best dancer (in the role of Katharina) and Vladislav Lantratov received also the Golden Mask of the Best dancer (in the role of Petruchio). 

Source : Les Ballets de Monte Carlo

More information : http://www.balletsdemontecarlo.com/ 

Preljocaj, Angelin

Angelin Preljocaj was born in the Paris region, in France, and began studying classical ballet before turning to contemporary dance, which he studied with Karin Waehner.
In 1980, he went to New York to work with Zena Rommett and Merce Cunningham, after which he resumed his studies in France, there his teachers included the American choreographer Viola Farber and the French one Quentin Rouillier. He then joined Dominique Bagouet before founding his own company in December 1984.

His productions are now part of the repertoire of many companies, many of which also commission original production from him, notably La Scala of Milan, the New York City Ballet and the Paris Opera Ballet. He has made short films ("Le postier", "Idées noires" in 1991) and several full-length films, notably "Un trait d’union" and "Annonciation" (1992 and 2003). In 2009, he directed "Snow White", featuring his own piece, and in 2011 he signed, for Air France, the commercial "L’Envol", based on the choreography of "Le Parc".
Since then he has collaborated on several films of his own choreographic work: « Les Raboteurs » with Cyril Collard (based on the painting by Gustave Caillebotte) in 1988, « Pavillon Noir » with Pierre Coulibeuf in 2006 and « Eldorado/ Preljocaj » with Olivier Assayas in 2007.

Since October 2006, the Ballet Preljocaj and its 24 permanent dancers have resided at the Pavillon Noir in Aix-en-Provence, a building entirely dedicated to dance, with Angelin Preljocaj as its artistic director. Made with Valérie Müller, the first full-length feature film by Angelin Preljocaj, « Polina », danser sa vie, adapted from the graphic novel by Bastien Vivès, came out in cinemas on November 2016.

Source: Ballet Preljocaj 's website

More information

preljocaj.org

 

Riolon, Luc

After studies of mathematics preparatory class and medecine studies, Luc Riolon begins to make films within the framework of his Faculty of Medicine, then met the famous choreographers of the 80s (Maguy Marin, Mark Tompkins, Josef Nadj, Daniel Larrieu Daniel, Odile Duboc, Josette Baiz, Angelin Prljocaj, etc.) with whom he shoots numerous films (re-creation for the camera, the illegal securements). In the 80s with the American choreographer Mark Tompkins he introduces the video on the stage, broadcasting live on big screens the images which he shoots with his camera by being on the stage with the dancers, mixing live images and pre-recorded images. With Daniel Larrieu he participates in the creation of the famous show WATERPROOF, the contemporary choreography which takes place in a swimming pool, by filming live) the dancers dancing in the water and mixing the live images with pre-recorded underwater images. This choreography has been shown in many countries (USA, Canada, Spain, England…)
Then he collaborates during 10 years with the famous french TV producer Eve Ruggieri for her programs" Musics in the heart ". He shoots with her of numerous documentaries about classical music, opera singers and dance. From 1999 he directs documentaries of scientific popularization, by following researchers attached to the resolution of a particular ecologic enigma. These two artistic and scientific domains which can seem separated are nevertheless, for Luc Riolon, connected by the same approach : the deep desire to understand the world, by the art or by the scientific research, and to restore it to the largest number. Among his recent scientific documentaries, we can quote for example " The Enigma of the Black Caiman ", Living and dying in the swamp " or " The Nile delta: The end of the miracle ". “Chernobyl, a natural history ? “ These documentaries of scientific popularization recently have been awarded in international festivals.


Source: Vimeo

Grenade, les 20 ans

Choreography : Josette Baïz, Philippe Decouflé, Jean-Claude Gallotta, Michel Kelemenis, Abou Lagraa, Jean-Christophe Maillot, Angelin Preljocaj

Choreography assistance : Elodie Ducasse

Set design : Dominique Drillot

Lights : Erwann Collet

Costumes : Philippe Decouflé (costumes originaux de CODEX), Philippe Guillotel, Philippe Combeau

Sound : Mathieu Maurice (régie)

Production / Coproduction of the choreographic work : Cie Grenade

Production / Coproduction of the video work : Production Scènes d'écran - 24 images

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Body and conflicts

Parcours

A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.

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A Rite of Passage

Webdoc

Julie Charrier

A Rite of Passage

Webdoc

Classical, telluric, shamanic, revolutionary? On May 29th, 1913, the first performance of Nijinski's "Rite of Spring" made such a scandal. This webdoc tells the story of this key work which inspired so many artists.
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Why do I dance ?

Webdoc

Julie Charrier

Why do I dance ?

Webdoc

Social dances, anti-establishment, protest dances, rhythms or identities, rituals or pleasures... There are a myriad of reasons for dancing and a myriad of points of view. A webdoc to discover, enhanced with extracts from performances and accounts from amateurs... all the right reasons for dancing!
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Genesis of work

Parcours

Centre national de la danse

Genesis of work

Parcours

A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff

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Round dance

Parcours

Olivier Lefebvre

Round dance

Parcours

 Presentation of the Round’s figure in choreography.

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Reinterpreting works: Swan Lake, Giselle

Parcours

Anne Décoret-Ahiha

Reinterpreting works: Swan Lake, Giselle

Parcours

Some great shows are revisited through the centuries. Here are two examples of pieces reinterpreted by different choreographers.

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Contemporary Italian Dance : the 2000s

Parcours

Ada d’Adamo

Contemporary Italian Dance : the 2000s

Parcours

Panorama of contemporary dance practices in Italy during the 2000s.

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Rituals

Parcours

Anne Décoret-Ahiha

Rituals

Parcours

Discover how the notion of ritual makes sense in various dances through these extracts.

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Le défilé de la Biennale de la danse

Exposition virtuelle

Biennale de la danse

Le défilé de la Biennale de la danse

Exposition virtuelle

La biennale de la danse créée en 1984 à l’initiative de Guy Darmet voit en 1996 s’ajouter à son programme un nouvel événement : le Défilé.

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La Biennale de la danse

Exposition virtuelle

Biennale de la danse

La Biennale de la danse

Exposition virtuelle

La Biennale de la danse est un événement lyonnais que la ville traverse toutes les années paires. Voici l’histoire de cette aventure et un historique de toutes ses éditions.

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La Maison de la Danse de Lyon

Exposition virtuelle

Maison de la Danse de Lyon

La Maison de la Danse de Lyon

Exposition virtuelle

Créée à Lyon en 1980, la Maison de la Danse fut le premier théâtre en Europe dédié exclusivement la danse. Avec plus de 150 000 spectateurs par saison et près de 200 levers de rideaux, la Maison de la Danse rassemble aujourd’hui un large public de spectacles très fédérateurs mais aussi d’œuvres innovantes et de recherche. Théâtre de diffusion mais aussi pôle européen de création et d’innovations numériques, la Maison de la Danse vous ouvre ses portes et vous dévoile ses projets.

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Female / male

Parcours

Anne Décoret-Ahiha

Female / male

Parcours

A walk between different conceptions and receptions of genres in different styles and eras of dance.

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Strange works

Parcours

Centre national de la danse

Strange works

Parcours

 Unconventional contemporary dance shows which reinvent the rapport to the stage.  

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Dance in Quebec: Collectivities in motion

Parcours

Geneviève Dussault

Dance in Quebec: Collectivities in motion

Parcours

This Parcours introduces several extracts of works by contemporary Quebecois choreographers, situating them in an anthropological perspective.

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Pantomimes

Parcours

Sarah Nouveau

Pantomimes

Parcours

Presentation of Pantomimes in the different types of dance.

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Black Dance

Webdoc

Julie Charrier

Black Dance

Webdoc

James Carlès, dancer and choreographer and specialist of Afro-American dance, evokes the origin of current-day urban dances. From Africa to the United States via Europe, he emphasizes their hybrid style and puts their social and political dimension into perspective. A myriad of videos, photos, illustrations and additional resources complement this interview.
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Indian dances

Parcours

Anne Décoret-Ahiha

Indian dances

Parcours

Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!

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James Carlès

Exposition virtuelle

Numeridanse.tv

James Carlès

Exposition virtuelle

© Emmanuel Tussore

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Charles Picq, réalisateur en danse

Exposition virtuelle

Maison de la Danse de Lyon

Charles Picq, réalisateur en danse

Exposition virtuelle

Rencontre avec Charles Picq, réalisateur et vidéaste de la danse. 

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How to become a dance spectactor ?

Webdoc

Guisgand, Philippe ; Guisgand, Sébastien

How to become a dance spectactor ?

Webdoc


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