Paris performance rentrée: new creation, classic music and creative retrospectives [by Tracy Danison]

Paris Performance Agenda is a work-in-progress “dance syllabus”, a “to-see agenda” of dance performance complemented by essays and articles about esthetics, creation and creativity along with interviews of creators and performers in The Best American Poetry and other publications. 

For the beginning of the Season 2019-2020, my head has highlighted intriguing retrospective work by the well-known choreographers Jérôme Bel and Philippe Decouflé. Without ignoring such emotion-rallyers as Saburo Teshigawara performing things like Berlioz’s Symphonie Fantastique (recommended by DanseAujourdhui’s Catherine Zavodska, at the Philharmonie de Paris) or Jan Martens’ erotically tense Sweat Baby Sweat, my heart has chosen creation by artists whose esthetic power I admire, including Yasmine Hugonnet, Myriam Gourfink and Latifa Laâbissi or such artists as Florence Casenave, Aurélie Berland, Carole Quettier or Nina Vallon, whose performance ideas tease my esthetics. Work by Vallon, along with Aurelie Berland, among others, makes up the really intriguing offer of new creation riding classical music and choreographies for Micadanse’s Bien Fait! 2019 program. The tense emotion of Jan Martens’ Sweat Baby Sweat and the playful exploration of Yasmine Hugonnet’s Se Sentir Vivant both feature in Lafayette Anticipations’ Echelle Humaine 2019 program.

DANCE, PERFORMANCES & CREATORS TO LOOK FOR, PARIS RENTREE 2019 

Les Traversées du Marais 2019: Voyages spatio-temporels  – Performance & Dance • 2019 • Les Castellers de Paris & Bruno BenneMicadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 8 September 2019: three Voyages of between 20 - 40 minutes from 15h to 17h30 • Bien Fait! 2019 dance festival • Α Les Castellers de Paris are acrobats and dancers using traditional dance and performance in modern contexts. This Voyage in space and time includes a street-side acrobatic “castlebuilding” show based on a Catalonian tradition recognized as part of our universal cultural heritage by the UN, followed by Baroque-era dancing and music.

infiniDance performance • 2019 • Boris Charmatz • 60 minutesThéâtre de la Ville - Espace Cardin, Paris, 10-14 September, 20.30h • Festival d’Automne 2019Α Premiered this past June at the Montepellier Dance Festival, the choreographer continues his always fascinating and generally successful modus operandi of using dance-movement to perform complex themes. Infini explores gesture and symbolic effect through dance, sound and numbers. In addition to hisperformance will be using young performers drawn from suburban dance conservatories where they have been working with Charmatz on a piece called Levée des conflits, an attempt create total (unbroken) movement. Ω Choreography: Boris Charmatz / Performers: Régis Badel, Boris Charmatz, Raphaëlle Delaunay, Maud Le Pladec, Tatiana Julien (alternately), Fabrice Mazliah, and Solène Wachter / Vocal work: Dalila Khatir / Sound: Olivier Renouf / Lighting: Yves Godin / Costumes: Jean-Paul Lespagnard / Produced: cie Terrain

TRACES Performance dance • Creation 20 minutes • Eva KlimackovaMicadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 16 September 2019, 20h, along with Midi sans paupière by Carole Quettier • Bien Fait! 2019 dance festival • Α Traces uses dance movement to explore how performers use listening and the quality of the performance space to create each other. Eva Klimakova wants to work with the nude body as a distanced or “strange” presence, looking at the body as “a work of art, plastic, modulable, malleable … an opportunity to read the body as a language” ... Ω Choreography: Eva Klimackova / Performers: Céline Angibaud, Eva Klimackova, Fabien Almakiewicz/ Music: Vincent Epplay / Lighting: Yann Le Bras  

Midi sans paupière Dance performance • Creation • Carole QuettierMicadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 16 September 2019, 20h, along with Traces by Eva Klimackova • Bien Fait! 2019 dance festival  • Α In this solo expressionist dance performance, Carole dances the sense between the lines of the Scarlet Letter’s Hester Prynne to music by Arnold Schoenberg, Wolfgang Amadeus Mozart, Franz Schubert, Sergei Prokofiev. Midi is dedicated to Martine Clary, a classical dancer from the very traditionalist Opéra de Paris, who became a founding performer with the Théâtre de Silence (Jacques Garnier & Brigitte Lefèvre, 1972), one of the first exclusively modern dance troupes in France. In 1981, when Jacques Garnier was tapped to head up the Groupe de recherche chorégraphique de l’Opéra de Paris (GRCOP), which had a mission to raise public awareness of dance, Clary was again a founding performer. Her role in GRCOP’s Le Cordon infernal, a free public performance based on the now-celebrated cartoonist Claire Bretecher’s depiction of a family roped together and set in the vast space of the Opéra (Auber) metro-RER station, is legendary. After Garnier’s death in 1989, Clary took up teaching contemporary dance at the Conservatoire nationale de Musique et de Danse, where her teaching was much appreciated and her students legion. Martine Clary died in 2014 Ω Choregraphy and performance: Carole Quettier / Costumes: Catherine Garnier / Lighting: Manuella Rondeau

O. K. Dance performance • Creation 2019 • Florence Casanave, cie LOUMAMicadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 16 September 2019, 20h, along with Maintenant, oui by Gaël Sesboué RecitalBien Fait! 2019 dance festival • Α Dance improv sublimed or exalted by the vibrations of an inspired magic zither within the ethers of J.-S. Bach’s Well-tempered Clavichord, Book 1, Fugue N#4 et N#12. Ω Choreography and performance: Florence Casanave / Music and sound arrangement: Florent Colautti / Musical performance: Blandine Verlet, harpsichord / Set design: Florence Casanave & Florent Colautti / Lighting and technical assistance: Gweltaz Chauviré / Set: Yann Lemaitre / Costume: Mélanie Clénet

Maintenant, oui Dance performance • 2019 • Gaël Sesboué, cie Lola GattMicadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 16 September 2019, 20h along with O.K. by Florence Casanave • Bien Fait! 2019 dance festival • Α Gaël Sesboué’s Maintenant, oui, a piece for four performers, organizes austere, clean-limbed dance performance around the model of the language logic punctuated with sense: Now (maintenant) is the present participle of keep up/hold on (maintenir)… Yes (oui). Keep up. The yes. Now. Present participle (participe). Participate in (participer à). Writing (l’écriture). The present (présent). Share in (participer de). Writing (l’écriture). Our present (de notre present). Through the Yes (Par le oui). By keeping it up (Par son maintien). Dans un mouvement qui tient. Jusqu’à maintenant. Par le oui. Par son action pour quatre interprètes, fonctionne comme une métaphore de notre quotidien, de nos actions et déplacements, amenés à se répéter chaque jour et pourtant, chaque jour différents. Par la reprise et la réinvention de la partition, le chorégraphe questionne les cadres qui balisent notre quotidien afin d’en faire jouer les limites pour permettre de nouveaux Ω Choreography and concept: Gaël Sesboüé / Director: Gaël Sesboüé / Performers: Carole Perdereau, Annabelle Pulcini, Jérôme Andrieu, Alexandre Thery / Music and sound: Vincent Raude / Lighting: Bénédicte Michaud / Costuming: Stefani Gicquiaud / Production assistant: Marion Cachan

Sweat Baby Sweat  – Dance performance • 65 minutes • 2011 • Jan Martens • Lafayette Anticipations, 9, rue du Plâtre, 75004 Paris, 19 September 2019, 20.30h  • Echelle Humaine dance festival  Festival d’Automne 2019Α Sweat Baby Sweat makes you really glad hip hop brought athleticism to the gestural elegance traditional to dance. Baby, take me: Jan Martens series of reflections on how to treat one’s life partner, the slow, continuous show of the limits of strength has made one of the most sensual pieces ever seen. Ω Choreography and performance: Jan Martens with Kimmy Ligtvoet and Steven Michel / Music arrangements: Jaap Van Keulen / Dramaturgy : Peter Seynaeve/ Production : Frascati Productions, ICKamsterdam, TAKT Dommelhof and JAN vzw

SE Sentir vivant & We are still Watching Performance • 2017 & 2012 • Yasmine Hugonnet, cie Arts Mouvementés & Ivana Müller • 40 minutes • Lafayette Anticipations 75004 Paris, 19 September 2019, 18.30h & 21h  • Echelle Humaine dance festival Festival d’Automne 2019 Α Science suggests that how we feel about our voice and what out voice says to others reveals how we feel about ourselves and shapes how others feels about us. Yasmine Hugonnet’s Se Sentir vivant gives voice to the parts of self; how do they feel about it all? Ω Concept, text, performance: Yasmine Hugonnet / Production: cie Arts Mouvementés / Coproduction: Arsenic-Centre d'art scénique contemporain. Α Ivana Müller gives the audience the script, enabling an alternate view of live performance in the interactive We are Still Watching. Ω Concept, text: Ivana Müller with Andrea Bosic, David Weber-Krebs, Jonas Rutgeerts / Production: cie I’M Company

Hors-Champ Performance • 2018 • Ivana Müller 45 minutes • Lafayette Anticipations 75004 Paris, 21 September 2019: 14h30 - 15h15; 15h15 - 16h; 16h -16h30; 17h15 - 18h; 18h - 18h45 / 22 September 2019: 14h30 -17h30; 15h45 - 16h30 • Echelle Humaine dance festival  Festival d’Automne 2019Α Ivana Müller’s Hors-Champ is an installation and participative performance piece around one-on-one conversation. Participants read out scripts based on expressions derived from language around plants, cultivation and gardens to each other in private to enable a relationship both around the individuals involved and the content of the conversation. Hors-Champs exercise might require some French. On the other hand, a good dose of incomprehension might make for an even more interesting encounter and experience. Ω Concept: Ivana Müller / Text: Ivana Müller with Julien Lacroix and Anne Lenglet / Production: I'M COMPANY (Matthieu Bajolet, Gerco de Vroeg et Suzanne Veiga Gomes)

Dancer of the Year Performance • 2019 • Trajal Harrell 40 minutes • Lafayette Anticipations 75004 Paris, 21 September 2019: 16h30 -19h55; 19h -19h40/ 22 September 2019: 15h - 15h40 ; 17h30 - 19h10 • Echelle Humaine dance festival  Festival d’Automne 2019Α Acclaimed for his “what-if” vogueing piece Twenty Looks or Paris is Burning at The Judson Church and since much interested in themes around identity, Trajal Harrell’s Dancer looks at how being named “Dancer of the Year 2018” by the German Tanz Magazine affects performance and self “representation”. Ω Choreography, performance, sound and costuming: Trajal Harrell / Dramaturgy: Sara Jansen / Production: Kunstenfestivaldesarts

Score #1 Récital [Bach to Boulez] Music with dance • 2019 • Nina Vallon Micadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris - Studio May B, 23 September 2019, 20h, along with Offrande by Mié Coquempot • Bien Fait! 2019 dance festival • Α Nina Vallon writes that it is both “the pleasure to dance with or to music and the richness of musical creation” that have inspired her choreography and and performance. I might say that it may be the nicest thing about contemporary dance performance that music and dance can be so variously related: the pleasure of sight and sound varying together and on their own terms, the inspiration of both or each together. Nina Vallon brings together Pierre Boulez, Douze Notations pour piano and Ferruccio Busoni, Chaconne, transcription for piano in D-minor, J.- S. Bach to add music’s relation to itself to the possibilities of variation. Score#1 is a creation in avant première. Ω Choreography & dance performance: Nina Vallon / Musical performance: Aurélien Richard, piano

Offrande Dance • 2019 • Mié Coquempot - cie K622 Micadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 23 September 2019, 20h, along with Score#1 Recital by Nina Vallon • Bien Fait! 2019 dance festival • Α Mié Coquempot is collaborating with dancer and choreographer Bruno Bouché, recently named director of CCN Ballet de l’Opera national du Rhin, and the master of Baroque Béatrice Massin of Fêtes Galantes to perform The Musical Offering (Das Musikalische Opfer), BWV 1079 (J.- S. Bach) : mixing classic, Baroque, modern and contemporary theories, as well as dance styles, to interpret or reinterpret the art of movement with and to Bach’s Ur-pieces. Ω Choreography: Mié Coquempot / Performers: Six from cie K622, Fêtes Galantes and CCN Ballet de l’Opera national du Rhin, TBA / Notatrice and assistant choreographer:  Maud Pizon / General manager: Christophe Poux / Production: Lucie Mollier

Tout doit disparaître ! (everything must go!) Dance, Performance, Music • 2019 • Philippe Decouflé, Cie DCAThéâtre National de Chaillot, 27 September - 6 October 2019 • Season 2019-20 Théâtre National de la DanseΑ Philippe Decouflé takes audiences for a stroll through his evolution as choreographer and Cie DCA’s past and present work, literally, as this four-hour performance extravaganza occupies both auditoriums, its monumental foyers and other High Art Deco noks and crannies. The offerin includes work over 30 years, including Triton (1990); Tranche de cake (1994); Petites pieces montées (1993); Decodex (1995); Shazam (1998); Triton 2ter (1999); Sombrero (2006); Coeurs croisés (2008); Octopus (2010); Contact (2014) and Wiebo (2016). Ω Choreography: Philippe Decouflé / Director: Philippe Decouflé / Assistant choreographers: Daphné Waksmann-Mauger, Olivier Simola / Music: Hughes de Courson, Joseph Racaille, Nosfell, Pierre Le Bourgeois, Sébastien Libolt / Video: Olivier Simola / Costuming: Philippe Guillotel, Laurence Chalou / Assistants: Peggy Housset and Jean Malo / Set design: Aurélia Michelin, Martine Besombes / Performers: Manon Andersen, Didier André, Flavien Bernezet, Dominique Boivin, Christine Bombal, Meritxell Checa Esteban, Stéphane Chivot, Muriel Corbel, Sophie Cornille, Coralie Corredor, Philippe Decouflé, David Defever, Véronique Defranoux, Herman Diephuis, Julien Ferranti, Clémence Galliard, Ludovic Gauthier, Sylvie Giron, Nathalie Hauwelle, Pascale Henrot, Pascale Houbin, Eric Houzelot, Benjamin Lamarche, Eric Martin, Sean Patrick Mombruno, Alexandra Naudet, Aurélien Oudot, Matthieu Penchinat, Aurélia Petit, Stéphanie Petit, Michèle Prélonge, Maxime Rigobert, Lisa Robert, Alice Roland, Nancy Rusek, Olivier Simola, Suzanne Soler, Rosalba Torres, Christophe Waksmann, Daphné Waksmann-Mauger (DANCE), Peter Corser, Louise Decouflé, Morgane Houdemont, Yannick Jory, Paul Jothy, Pierre Le Bourgeois, Sébastien Libolt, Nosfell, Joseph Racaille, Christophe Rodomisto with participation from students from the Conservatoire National Supérieur de Musique et de Danse de Paris and ballet supervisors Silvia Bidegain and Céline Talon.

Portrait de groupe avec femme(s), (Part 1 of 2) Dance performance • 2018-2020 Claire Durand Drouhin, cie Traction• Micadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 27 September 2019, 20h - studio May B • Bien Fait! 2019 dance festival  • Α The title of part 1 of Claire Durand-Drouhin’s Portrait de groupe avec femmes (Group portrait with women) calls to mind Heinrich Böll’s celebrated Gruppenbild mit Dame (Group portrait with lady), a story of an ordinary woman at grips with the intense tacit and explicit misogynies of Germany’s National Socialist period. In contrast, in what is meant to be a very physical invocation of the meaning of being woman. Durand Drouhin’s piece uses synchronization of movement and a classical Persian percussion music called Daf after the hand-drum used to produce it to create a sensibility among five performers “united by a single breath”. Ω Choreography: Claire Durand-Drouhin / Performers: Pauline Bigot, Claire Durand-Drouhin, Inés Hernandez, Haruka Miyamoto, Jyotsna Liyanaratne / Music: Angel dance by Mohsen Taherzadeh, Hossein Alizadeh, Leila Han, Cooperman hand drums

Les statues meurent aussi Dance performance • 2019Aurélie Berland, cie GrammaMicadanses, 15, 16 & 20 rue Geoffroy l'Asnier 75004 Paris, 27 September 2019, 20h - Studio May B • Bien Fait! 2019 dance festival  • Α The filmmaker, photographer and essayist Chris Marker remarked à propos his film Les Statues meurent aussi (“Statues Also Die”) that “an object is dead when the face that looked at it has died”. Since first forming cie Gamma in 2014, performer Aurélie Berland has been looking at how an aesthetic is transmitted through time, how dance movement is transmitted into new contexts. Notably, she has reconstructed and renewed work by Doris Humphrey, Lucinda Childs and Martha Graham. In this series of performance around Beethoven’s Seventh Symphony, she is taking up the rich aesthetic of modern dance in Germany with reconstruction of work by Rudolf Laban (1879-1958), Irmgard Bartenieff (1900-1981), Dorothee Günther (1896-1975) constructed by choreographer Gundel Eplinius (1920-2007), a student and disciple of Mary Wigman (1886-1973), the country’s pioneer of expressionist dance and dance therapy. Ω Choreography: Gundel Eplinius, reconstructed by Aurélie Berland / Performer: Anne-Sophie Lancelin / Music: Ludwig Van Beethoven, 7th Symphony in A major, Opus 92 (Wilhelm Furtwängler, 1943) and extracts from Carl Orff’s Carmina Burana cantata (Eugen Jochum, 1968)

Rétrospective Video Dance Performance • 2019 • Jérôme Bel, cie R.B. Jérôme Bel • 80 minutes • Théâtre des Abbesses, Paris, 27 -29 September 2019 Festival d’Automne 2019 performance arts festival  • Α For his 20th création Jérôme Bel has put together a rétrospective video of his work and themed it around the rôle of political consideration in dance creation; out of concern for the environment, Bel’s company no longer uses air travel and; he points out, making and distributing this latest work has required and will require no environment-unfriendly travel. Bel has stitched together extracts from 18 of what he considers his important pieces to visually explore his central concerns: the body, language, power and vulnerability. Ω Conception: Jérôme Bel / Image research: Céline Bozon, Pierre Dupouey, Aldo Lee, Olivier Lemaire, Marie-Hélène Rebois / Image Editors : Yaël Bitton and Oliver Vulliamy / Performers (in video) : Taous Abbas, Fanny Alton, Cédric Andrieux, Sheila Atala, Sonja Augart, Michèle Bargues, Jérôme Bel, Ryo Bel, Malik Benazzouz, Remo Beuggert, Nicole Beutler, Gianni Blumer, Céline Bozon, Damian Bright, Matthias Brücker, Carine Charaire, Vassia Chavaroche, Germana Civera, Houda Daoudi, Diola Djiba, Shadé Djiba, Olga De Soto, Véronique Doisneau, Juan Dominguez, Moussa Doukoure, Dina Ed Dik, Chiara Gallerani, Nicolas Garsault, Ito Glissant, Matthias Grandjean, Stéphanie Gomes, Claire Haenni, Julia Häusermann, Sara Hess, Olivier Horeau, Miranda Hossle, Benoît Izard, Cuqui Jerez, Marie-Yolette Jura, Peter Keller, Maxime Kurvers, La Bourette, Akira Lee, Aldo Lee, Françoise Legardinier, Lorraine Meier, Eva Meyer Keller, Ion Munduate, Henrique Neves, Tiziana Pagliaro, Gisèle Pelozuelo, Carlos Pez, Magali Saby, Oliviane Sarazin, Frédéric Seguette, Esther Snelder, Johannes Sundrup, Simone Truong, Pierre Tu, Amaia Urra, Peter Vandenbempt, Hester Van Hasselt, Simone Verde / Assistants : Chiara Gallerani, Maxime Kurvers / Artistic direction : R.B. Jérôme Bel, Rebecca Lasselin / Administration: Sandro Grando / Production: cie R.B. Jérôme Bel

Glissement d’infini  Performance dance • 2019 • Myriam Gourfink • 30 minutes • Musée de l'Orangerie, Paris, 30 September 2019, 19h • Festival d’Automne 2019 performance arts festival  • Α Myriam Gourfink has created an in situ performance for the Nymphéas rooms at the Musée de l’Orangerie, renewing the spaces and volumes of Monet’s famous painting. Ω Conception: Myriam Gourfink / Choreography: Myriam Gourfink / Performers: Carole Garriga, Deborah Lary, Azusa Takeuchi, Véronique Weil / Music: Kasper T. Toeplitz / Musical performance: Kasper T. Toeplitz and Elena Kakaliagou Production: Les Spectacles Vivants & Centre Pompidou (Paris)

Isadora Duncan Dance performance • 2019 • Jérôme Bel, cie R.B. Jérôme Bel • 60 minutes Centre Pompidou, Paris, 3-5   October 2019 • Festival d’Automne 2019 performance arts festival  • Α Jérôme Bel’s Isadora Duncan, first produced at the Deutsches Theater, Berlin is a solo for Elisabeth Schwartz, who is also a dance historian specialized in Isadora Duncan’s repertory. Schwatrtz’s performance, which is part of Bel’s ongoing series of choreographic portraits begun in 2004 and the first portrait of a historic figure, is based on her reading of Duncan’s autobiography, Ma vie. As Bel no longer uses air travel out of concern for the environment, a Skyped version of Isadora Duncan by Catherine Gallant is being performed in New York. Ω Concept: Jérôme Bel / Chorégraphy, Isadora Duncan / Performers: Elisabeth Schwartz / Assistant, Chiara Gallerani / Artistic direction: R.B. Jérôme Bel, Rebecca Lasselin / Administration: Sandro Grando / Production: cie R.B. Jérôme Bel

Symphonie Fantastique Music, Dance • 20 • Saburo Teshigawara • 60 minutesPhilharmonie de Paris, Grande Salle Pierre Boulez, Paris, 4 October 2019 • Recommended by DanseAujourdhuiΑ As his performance in Dostoyevsky’s The Idiot amply demonstrates, Saburo Teshigawara can project feeling like few other performers. Catherine Zavodska writes that Teshigawara’s interpretation of the celbrated symphony is “total art”, a visit to Berlioz’s musical universe that brings his magical and romatic vision to life as if it were a première. The multifaceted charm of Berlioz’s composition and its call on all an orchestra’s resources is perfectly matched by Teshigawara’s inventiveness as much in interpration as in lighting and and costumes. Ω Choreography: Saburo Teshigawara / Music: Orchestre National de Lyon / Production: Orchestre National de Lyon & Philharmonie de Paris

White Dog – Performance dance • 2019 • Latifa Laâbissi, cie Figureproject • 60 minutesCentre Pompidou,, Paris, 10-14 September • Festival d’Automne 2019 performance arts festival • Α Premiered at the Théâtre Joliette, Marseille, earlier this year, Latifa Laâbissi’s latest creation is, like Consul & Meshie, a look into the collective heart of human beings, how they define themselves, how they transform, done with a fine humor and a profound respect for and knowledge of the art of movement. Ω Conception: Latifa Laâbissi / Performers: Jessicat Batut, Volmir Cordeiro, Sophiatou Kossoko, Latifa Laâbissi / Artistic collaboration: Isabelle Launay / Set design and costuming: Nadia Lauro / Sound: Manuel Coursin / Lighting: Leticia Skrycky / Technical direction: Ludovic Rivière / Production: cie Figure Project

Soundance, Fabrications & Four Walls - Merce Cunningham Dance, Music • Soundance (1975, Detroit Music Hall) / Fabrications (1987, Cyrus Northrop Memorial Auditorium, University of Minnesota, Minneapolis) / Four Walls (1944, Perry-Mansfield Workshop, Steamboat Springs, Colorado)CCN - Ballet de Lorraine Season 2019-20 Théâtre National de la Danse, Paris, 12 - 16 October 2019 • Festival d’Automne 2019 performance arts festival  • Α Petter Jacobsson and Thomas Caley use free interpretation of “story dance” Four Walls – a first collaboration between Merce Cunnigham and John Cage – danced with the inimitably diverse talent by CCN – Ballet de Lorraine and interpreted live by pianist Vanessa Wagner, to close what they conceive as a homage to the great choreographer. The approach to Soundance and Fabrications focuses on bringing out what Jacobsson and Caley see as the fundamentals of Cunningham’s choreography: sound, spontaneity (chance) and situation. Soundance, to David Tudor’s original composition, reveals bodies in recursive deconstructive movement while Fabrications brings out how Cunningham used the model of the throw of dice of I Ching divination to model in chance. Ω Sounddance Chorégraphy: Merce Cunningham / Music: David Tudor / Choregraphic arrangement: Thomas Caley, Meg Harper / Performers: 10 CCN – Ballet de Lorraine troupe performers TBA / Lighting, costuming and décor: Mark Lancaster / Coaching: Thomas Caley / Fabrications Choreography: Merce Cunningham / Music: Emanuel Dimas de Melo Pimenta / Choregraphic arrangement: Thomas Caley / Performers: 15 CCN – Ballet de Lorraine troupe performers TBA / Lighting: Josh Johnson / Costuming and décor: Dove Bradshaw / Production CCN – Ballet de Lorraine (Nancy) / Four Walls Choreography: Petter Jacobsson, Thomas Caley / Music: John Cage / Performers: 24 CCN – Ballet de Lorraine troupe performers TBA / Musical performance: Vanessa Wagner, piano / Lighting: Eric Wurtz / Set design: Petter Jacobsson, Thomas Caley / Costumes: Petter Jacobsson, Thomas Caley with Martine Augsbouger, Annabelle Saintier

Dying on Stage Performance • Creation 2019 • 150 minutes x 3 • Christodoulos Panayiotou • Musée d'Orsay, Paris, 19 October - 14 December 2019 • Festival d’Automne 2019 performance arts festival  • Α In opera there is nothing so risible as Don Juan’s death; there is nothing so risky in performance as a death scene. By taking his cue from Rudof Nureyev’s last days of life as dance, scuptor and performance artist Christodoulos Panayiotou manages to get a look at stage death in the round. In three “danced lecture” performances themed around the spectacle that is death, Panayiotou covers the gamut of genre choreographies, including by taboo and by mortal tragedy as well as by accidental trespass and fatal idealism. Dying on Stage presents over its three performances the entirety of Panayiotou’s collection of (mostly) film-death scenes. Ω Conception & performance: Christodoulos Panayiotou, with Jean Capeille / Production: Brave New Media

Trois Ballets: Pond Way, Walkaround Time, Cross Currents - Merce Cunningham Dance performance • 80 minutesPond Way (1998, Opéra national de Paris): Opéra Ballet Vlaanderen / Walkaround Time (1968, State University College, Buffalo, New York): Ballet de l'Opéra national de Paris; Cross Currents (1964, Sadler’s Wells Theatre, London): Royal Ballet of London • 80 minutes • Season 2019-20 Théâtre National de la Danse, Paris, 22-26 October 2019 • Festival d’Automne 2019 performance arts festival  • Α Each of these pieces puts on display Merce Cunningham’s notions of scenography and cross-artistic collaboration, literally. Opéra Ballet Vlaanderen explores Pond Way (score by Brian Eno). Walkaround Time, performed by the Opéra de Paris, is focused on the body with Marcel Duchamp’s abstract Le Grand Verre (Originally: “The bride uncovered by her suitors”) integrated into the set. Royal Ballet takes on Cross Currents, with its  complexly criss-crossing soloists. Ω Cross Currents Choreography: Merce Cunningham / Music: Conlon Nancarrow / Choregraphic arrangement: Daniel Squire / Performers: 3 performers of the The Royal Ballet of London TBA / Lighting: Beverly Emmons / Costuming: based on the orginal by Merce Cunningham Pond Way Choreography: Merce Cunningham / Music: Brian Eno / Choregraphic arrangement: Andrea Weber / Set design: based on the original by Roy Lichtenstein / Performers: 13 performers of the Opera Ballet Vlaanderen of London TBA / Lighting: David Covey / Costuming: Suzanne Gallo Walkaround Time Choreography: Merce Cunningham / Choregraphic arrangement: Meg Harper, Jennifer Goggans / Music: David Behrman / Text: Marcel Duchamp, La Mariée mise à nu par ses célibatairesmême [La Boîte Verte], Paris, 1934 © Succession Marcel Duchamp, 2019 / Decor: based on the orginal by Marcel Duchamp, La Mariée mise à nu par ses célibatairesmême, dit Le Grand Verre, originally supervised by Jasper Johns/ Performers: 9 performers of the Ballet de l’Opéra national de Paris TBA / Costuming: based on the original by Jasper Johns, which is now in the Walker Art Center / Lighting: Beverly Emmons / Technical Coordination: Davison Scandrett / Sound engineer: Jesses Stiles

Disparitions Music performance • 45 minutes • 2019 • Antonin Tri Hoang • Eglise Saint Eustache, Paris, 24 October 2019 • Festival d’Automne 2019 performance arts festival  • Α Disparitions, “disappearences”, recalls pas perdus, the intriguing quality of a sound wandering into the universal silence. Antonin Tri Hoang knows how to play jazz clarinette, sax and piano like nobody’s business and he can lead a band of the best musicians around. His new challenge is to fill the great Gothic Ship of Saint Eustache 105 meters long, 44 meters wide, 33 meters high with music. Hoang intends to make it the great soundbox its architects intended (though, perhaps, not then envisaging jazz) by disposing twelve musicians throughout the church in resonance with its architects. Ω Conception & composition: Antonin Tri Hoang / Artistic collaboration: Julien Pontvianne / Performers: Elena Andreyev, violoncello; Prune Bécheau, violon; Elsa Biston, electronics; Gulrim Choi, gamba; Richard Comte, guitar; Jozef Dumoulin, organ and keyboards; Stéphane Garin, percussions; Amélie Grould, percussions; Antonin Tri Hoang, clarinet and saxophone; Julien Pontvianne, clarinet and saxophone / Lighting: César Godefroy / Production: Festival d’Automne à Paris


Sweltering in Paris: Going to ground with Michel Onfray, Greta Thunberg & the death of Descartes [by Tracy Danison]

CatherineDiverrèsJoubertCatherine Diverrès, “Jour et nuit”NicholasJoubert


Paris is surely a bit above the best when it comes to fostering and presenting creative, innovative, art-quality, live dance and performance, including circus. But, what with Paris lately as hot and dry as Sana’a, Yemen, I have been a little slow to act on getting True Dance News out to the English-speaking world.

I’ve been wanting to put up a series of short, sweet articles on watch-for performers and performances such as Catherine Diverrès’ remarkable Jour et nuit, her latest piece, which I discovered during the Faits d’Hiver Winter 2019 festival. A reprise of a later work, equally smashing stuff, Blow the bloody doors off… figured at the Théâtre Nationale (Palais) de Chaillot in Spring…

In between, there was work by Liz Santoro, Sylvère Lamotte, Nina Santes, Nathalie Béasse, Vincent Thomasset, Mats Ek and many others at Atelier de Paris’ June Events and Rencontres chorégraphiques internationales… Diverrès, among others, is a veteran of the scene but there are scads of accessible, practicing newer talents, too, such as Marie Desoubeaux, to mention only one, who debuted her fine dance-performance Rester (Stay) in April at Le Regard du Cygne, a devotedly contemporary dance performance theater in Belleville.

So, there’s plenty of movement art to write about.

Stillness

But even innovative, art-quality, live dance and performance suffer from This weather!

Like most ordinary Parisians, like most ordinary Sana’a-ites, I expect, I have no air conditioning. The cost-benefit ratio has never added up for me or them. With actual waves of killing-heat, though, the ratio might change, ‘though maybe we can all just go stand under those giant white windmills that seem to run along the national tollways. That couldn’t be expensive, could it?

While we’re all calculating, however, the trick with a heat wave, in French called a canicule, just as in Sana’a, is to keep still in a shuttered-up apartment. The word for keeping still like this is se terrer – “go to ground” – like rabbits or scorpions or slugs.

Close the shutters a few minutes before the sun pokes its angry mug over the horizon. Don’t open them again till that mug has slunk well under it. Take only body-temperature liquids (‘though lovemaking is obviously out of the question at these temperatures). Keep quiet.  Move slow, mon lapin, lentement, shhh!

Fleurs42CTDANISONPoppies at 107°F July 2019 Sauliac-sur-Célé France©TracyDanison

Stillness, anger

Unlike typing or lovemaking, moderate reading or listening to the radio, in principle, doesn’t generate (much) heat, so I’ve been listening in the silence.

The big news has been public philosopher Michel Onfray’s snarling ad girlem against Greta Thunberg, a latter-day incarnation of the unsinkable Pipi Longstocking, a school kid from Sweden who has instigated the school-strike-for-climate-initiative. She goes around, Pipi Longstocking-style, free as a bird, stirring up fuss and bother about human extinction and suchlike.

Although Michel Onfray has otherwise often had interesting things to say, the other day he called Thunberg a “Swedish cyborg” whose knowledge base is only what has bled into her head from the bedside chats her well-meaningly deluded parents. Thunberg’s decided taste for the intellectually empty, ignorance, over rational enlightenment, he suggests, is amply demonstrated by a proven contempt for school.

However, in the end, it’s not Thunberg’s Swedishness, her borrowed “ideas”, her preference for the comforting ignorance of her parents received ideas, or her human-machine physical mix, as you might think, but her “lack of emotion” that really gets to Onfray. Gloomily, he concludes that Thunberg’s supposed robot-like un-seductiveness will be the trademark that all future humans, also ignorant, presumably, and obscurantist, too.

Onfray’s ad girlem – I use this play on ad hominem because I don’t think Onfray would have blamed a boy for a lack of “seductiveness” – on this earnest Cassandra from the North at first seems as inexplicable as it is shocking.

However, through the subtle indirection of a personal attack on the victim of the same attack, Onfray may be cleverly objecting to the “Children’s Crusade” framing of Greta Thunberg as she goes forward with her campaign. Jesus himself said something about suffering little children to come unto… didn’t he? And children battling for Right – the emperor has no clothes! – does fit neatly into a certain moralistic model of liberal social expression, expression usually as utterly ineffective as it is cathartic for the pack of slippery real-politikers who will vote, regretfully, even sadly, for the petroleum-plastic-forks subsidy later the same day…

Indeed, as Onfray’s attack on Thunberg unfolded, she was coming unto… speaking at the Assemblée nationale (following on an earlier address to the European Parliament) so that, even as Onfray was snarling and frothing, députés were writhing under the delicious stings of the good, young Pipi’s call to action.

So, while the ad girlem of it is shocking, the attack is not entirely inexplicable.

But I don’t think it’s this.

I think the real reason – and the reason it’s an ad girlem rather than a polemic against a public position –  is that it really is about the girl Greta Thunberg and, just as Onfray suggests, the future that she represents, Thunberg’s hers.

Greta_Thunberg_at_the_Parliament_(46705842745)_(cropped)Ad girlem: Greta Thunberg, 16, activist©European Parliament

With a little sifted Epicureanism from Julien Offray de la Mettrie, abstracted libertinism from Sade and his own particular attention to emotion thrown in, Michel Onfray is a true child of the liberal Enlightenment. He, like most intellectual French people, styles himself a successor of Descartes, who was both philosopher and mathematician.

“Cartesians” are to France what cracker-barrel philosophers (think of Will Rogers or Oprah Winfrey) are to the USA. They bear the intellectual ideal of their respective nations: the one seeks combative, rationally crystalline intellectual rigor, the other a sort of distracting common sense militant. Onfray has done his duty to France admirably for, what, has it been 15 years? since I first heard him? or 10?

Onfray is as complex and nuanced as the next public philosopher, but as with a lot of the rest of the thinking West, there are two basic Enlightenment principles that he defends in whatever he may be momentarily arguing.

First, there’s Cogito, ergo sum - je pense, donc je suis - I think, therefore I am: a human is a sovereign individual. Then, it follows that against Cogito sum there is no higher power. We think, therefore we are the sole and unique measure of the world around (and to greater or lesser degrees, the creators/constructors of it, too). Reason and Knowledge are the tools humans have to help them measure and judge the best path “forward”.

What makes Onfray, or any other French person of any philosophy or none at all, “Cartesian” is a method, or at least a rhetoric, or inquiry that appears, to themself or an audience, as rigorously limpid as a quadratic equation built upon knowledge as materially solid as that stone Samuel Johnson kicked to refute Bishop Berkeley.

Stillness, agony

Onfray could say out loud, of course, that he thinks Thunberg and her backers are trampling liberal philosophy, but nobody would believe him.

Who wants to believe that elite young people skipping school in a good-tempered “Extinction Rebellion” are the equivalent of jeunesse dorée, fascist goons or ISIS suicide soldiers?

Besides, anything other than an attack ad girlem would make Greta Thunberg seem serious; personal attack avoids discussion of the weakness of liberal philosophy in the face of the planetary ecological evolution in course.

Michel_OnfrayMichel Onfray, 60, Public philosopher©LibrairieMollet

The weakness is this: liberal philosophy is fundamentally anthropocentric and Thunberg - the future she represents - is not. Thunberg does not assume that humans are wrecking the Earth, she assumes that humans are driving themselves to extinction on Earth. It follows that there is, effectively, a higher power: a dynamically complex ecology that is and may remain unknowable in any sense we can traditionally know it (and this higher power may be its own measure).

Thunberg and hers believe, in short, that a philosophy has to be about the human place in the environment and its role in the ecology. As tools for knowing a world that is fixing to leave humans out in the cold (or heat), traditional notions of reason and knowledge don’t have the adequate tolerances.

For Onfray, traditional liberal philosophy is rightly anthropocentric, a bastion for human liberty that is equipped with sharp and sturdy tools. And, as far as Onfray’s concerned, that’s the problem with Thunberg and hers' assumptions: they don't believe humans are at the center of the universe, they think the world has been mis-measured because traditional notions of reason and knowledge aren't good at working on the incertitude of dynamic complexity.

 

Stillness, death

When Thunberg opens her cat box, then, Descartes is always dead as a kipper – her paradigm is changed. And that’s all she and her generation have really done, isn’t it, opened the cat box? They haven’t argued any of it through. That outrages Onfray the Cartesian, for whom, as we have seen, reason, knowledge, and for Onfray personally, emotion, supposed so lacking in Greta Thunberg, are so important. Thunberg and hers can’t just let all that stuff drop. Can they?

How does a Cartesian engage with somebody whose cat box opens on a dead Descartes, that is, with somebody who sees nothing to argue about?

Frustratingly, Thunberg is not even hostile to traditional philosophy – on the contrary, she’s the very daughter of reason and liberal enlightenment, the cumulative result of the interaction of enlightenment with a dynamic world. For her, what follows Cogito ergo sum is: What is this? Where do I fit in? How do I do fit in?  

So, in the end, Onfray’s ad girlem is meant, at best, to get her attention, or, at worst, to put off the work of himself coming to grips with the questions Thunberg and hers need to answer.

Stillness, fear

To understand, is not understanding, however. Onfray surely knows in his heart that his ad girlem is all insulting nonsense. Greta Thunberg isn’t responsible for her appeal to Onfray’s senses, her parents’ beliefs, the society she was born into, the models that society proposes her to work within, the anthropocentricity of traditional liberal philosophy, the inadequacies of traditional notions of reason and knowledge, the existence of an ecology that is the repository of itself, or the fact that when she opened her cat box, Descartes was dead or that Michel Onfray was among the mourners and sorely grieved.

All the same, Onfray does stoop, calling Thunberg a “Swedish cyborg”, a truly low form of thug-style rhetoric. We associate such stuff with frightened political paranoids more often than with liberal philosophers. But, given that Onfray hasn’t, as far as I know, crossed the road, he must be scared.

Fear’s an emotion to respect. What’s he scared of? Thunberg as a phenomenon suggests that the world has already changed and we aren’t up to the dynamic incertitude that now characterizes the world. This certainly scares me and I’m not making any money off philosophizing about the current structure, so it must simply petrify Onfray.


PARIS PERFORMANCE VENUES

Grande Halle de la Villette (auditorium - instutition - park)

Telephone +33 1 41 83 98 98

Address: 211 avenue Jean-Jaurès, 75019 Paris

From ChâteletSimplest: about 40 minutes : Métro Line 7 to the station Porte de Pantin, walk about 3 minutes. Google directions: (https://www.google.de/maps/dir/Chatelet,+Paris/Grande+halle+de+la+Villette,+Avenue+Jean+Jaur%C3%A8s,+Paris/@48.873795,2.3276145,13z/data=!4m15!4m14!1m5!1m1!1s0x47e66e1f05d5bc8b:0x3d397d9cdb6288ce!2m2!1d2.346958!2d48.859013!1m5!1m1!1s0x47e66dca22033c8b:0xae411bb4ada21c9e!2m2!1d2.39085!2d48.8910835!3e3!5i2?hl=en)

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L'Embarcadère (auditorium)

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From ChâteletSimplest: about 40 minutes Métro Line 7 to the station Aubervilliers-Pantin –Quatre Chemins, walk about 15 minutes. Least walking: (https://www.google.de/maps/dir/Chatelet,+Paris/L'Embarcad%C3%A8re+93/@48.8687943,2.3040195,12z/data=!4m14!4m13!1m5!1m1!1s0x47e66e1f05d5bc8b:0x3d397d9cdb6288ce!2m2!1d2.346958!2d48.859013!1m5!1m1!1s0x47e66c24ab9a8fc7:0xcdd8e816b531067b!2m2!1d2.382976!2d48.910613!5i2?hl=en)

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Nouveau théâtre de Montreuil - salle Jean-Pierre Vernant (auditorium)

Telephone +33 1 48 70 48 90

Address : 10 place Jean-Jaurès, 93100 Montreuil

From ChâteletSimplest: about 30 minutes : Métro Line 1 to the station Nation, change for Métro Line 9 to the station Mairie de Montreuil, walk about 2 minutes. Google directions: (https://www.google.de/maps/dir/Chatelet,+Paris/10+Place+Jean+Jaur%C3%A8s,+Montreuil/@48.8567891,2.324096,12z/data=!4m15!4m14!1m5!1m1!1s0x47e66e1f05d5bc8b:0x3d397d9cdb6288ce!2m2!1d2.346958!2d48.859013!1m5!1m1!1s0x47e66d5b1a862795:0xb4b3c459971e7ef1!2m2!1d2.4431374!2d48.8619912!3e3!5i1?hl=en)

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Nouveau théâtre de Montreuil - salle Maria Casarès (auditorium)

Telephone +33 1 48 70 48 90

Address: 63 Rue Victor Hugo, 93100 Montreuil, France

From ChâteletSimplest: about 30 minutes : Métro Line 1 to the station Nation, change for Métro Line 9 to the station Mairie de Montreuil, walk about 2 minutes. Google directions: (https://www.google.de/maps/dir/Chatelet,+Paris/Salle+Maria+Casar%C3%A9s,+63+Rue+Victor+Hugo,+93100+Montreuil/@48.8567891,2.3232381,12z/am=t/data=!4m15!4m14!1m5!1m1!1s0x47e66e1f05d5bc8b:0x3d397d9cdb6288ce!2m2!1d2.346958!2d48.859013!1m5!1m1!1s0x47e66d5c891a052d:0x596c233210823b1b!2m2!1d2.4396003!2d48.8619773!3e3!5i1?hl=en)

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Espace Michel-Simon (theater)

Telephone +33 1 49 31 02 02

Address : 36 Rue de la République, 93160 Noisy-le-Grand, France

From ChâteletSimplest: about 40 minutes : RER Line A, direction Gare de Torcy, to the station Noisy-le-Grand - Mont d'Est, walk about 10 minutes. Google directions: (https://www.google.de/maps/dir/Chatelet,+Paris/L'Embarcad%C3%A8re+93/@48.8687943,2.3040195,12z/data=!4m14!4m13!1m5!1m1!1s0x47e66e1f05d5bc8b:0x3d397d9cdb6288ce!2m2!1d2.346958!2d48.859013!1m5!1m1!1s0x47e66c24ab9a8fc7:0xcdd8e816b531067b!2m2!1d2.382976!2d48.910613!5i2?hl=en)

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MAC Créteil – La Maison des arts et de la culture André-Malraux – (cultural center)

Téléphone +33 145 131919

Address : 1 Place Salvador Allende, 94000 Créteil

From ChâteletSimplest: about 50 minutes Métro Line 1 to the station Reuilly-Diderot, change to the Line 8 and go to the station Créteil - Préfecture, walk about 5 minutes through the mall to Porte 25, walk straight ahead, following the signs, about 5-10 minutes. Coming back : Take the free shuttle to Bastille or Chatêlet or go out of the theater and across the place Allende to Allée de la Toison d'Or and walk to Porte 26 of the mall, the métro is in front of you. Google directions: (https://www.google.de/maps/dir/Chatelet,+Paris/1+Place+Salvador+Allende,+Cr%C3%A9teil/@48.8233632,2.3388248,12z/data=!3m1!4b1!4m14!4m13!1m5!1m1!1s0x47e66e1f05d5bc8b:0x3d397d9cdb6288ce!2m2!1d2.346958!2d48.859013!1m5!1m1!1s0x47e60cab7627a5db:0x11d7213e8ae6ec04!2m2!1d2.4530087!2d48.7776722!3e3?hl=en)

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MC93 – Maison de la Culture de Seine-Saint-Denis – (cultural center)

Telephone +33 1 41 60 72 72

Address : 9 boulevard Lénine 93000 Bobigny, France

From ChâteletSimplest: about 50 minutes Métro Line 1 to the station Bastille, change to the Line 5 to the station Bobigny-Pablo Picasso, walk about 5 minutes. Google directions: (https://www.google.de/maps/dir/Chatelet,+Paris/9+Boulevard+L%C3%A9nine,+93000+Bobigny/@48.8891907,2.3206996,12z/data=!4m14!4m13!1m5!1m1!1s0x47e66e1f05d5bc8b:0x3d397d9cdb6288ce!2m2!1d2.346958!2d48.859013!1m5!1m1!1s0x47e66cc305b87f51:0xc35339fb90c3794!2m2!1d2.442208!2d48.9066951!3e3?hl=en)

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Le Colombier (theater)

Telephone +33 1 43 60 72 81

Address : 20 rue Marie-Anne Colombier, 93170 Bagnolet

From ChâteletSimplest: about 40 minutes : Métro Line 11 to the station Arts et Métiers, change to the Line 3 to the Gallieni station, walk about 10 minutes. Google directions: (https://www.google.de/maps/dir/Chatelet,+Paris/20+Rue+Marie+Anne+Colombier,+Bagnolet/@48.8628486,2.3477906,13z/data=!4m15!4m14!1m5!1m1!1s0x47e66e1f05d5bc8b:0x3d397d9cdb6288ce!2m2!1d2.346958!2d48.859013!1m5!1m1!1s0x47e66d740bdfc1e3:0xbc19a80e69afce1a!2m2!1d2.4185032!2d48.8705687!3e3!5i1?hl=en)

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CN D - Centre national de la danse (institution-faculty)

Telephone +33 1 41 83 98 98

Address: 1, rue Victor-Hugo, 93507 Pantin

From ChâteletSimplest: about 40 minutes : Métro Line 1 to the station Porte de Vincennes, change to the Tram 3B, get off at the stop Delphine Seyrig, walk about 5 minutes. Google directions: (https://www.google.de/maps/dir/Chatelet,+Paris/1+Rue+Victor+Hugo,+Pantin/@48.8777443,2.3411621,13z/data=!4m15!4m14!1m5!1m1!1s0x47e66e1f05d5bc8b:0x3d397d9cdb6288ce!2m2!1d2.346958!2d48.859013!1m5!1m1!1s0x47e66c4d2a418039:0xf48d28a9cde48a42!2m2!1d2.402002!2d48.8955708!3e3!5i3?hl=en)

Web site https://www.cnd.fr/en

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ON THE ROAD TO SUMMER 2019 [by Tracy Danison] 

The run-up to Summer features many dance and dance performance and theater performance pieces that will figure in live programs into 2020.

L’ILLUSTRE THEATRE DES FRERES SABBATINI - theater of objects • 2015 • Yannick Toussaint - Cie Histoire d'Eux • 30 minutes • Théâtre du Fil de l’eau – 20, rue Délizy, Pantin, 18 May, 15h, 16h, 17h, 18h, 19h and 21h; 19 May 14h, 15h, 16h, 17h, 18h and 19h • 10e biennale internationale des arts de la marionette  Α The greatest plays of the ages on an traditional Italian stage just two-and-a-half-feet wide by collective Cie Histoire d'Eux,  led by Yannick Toussaint since 2005. Marionette specialists, Histoire has used many different approaches, including shadow play (Nasreddine et autres histoires - 2012), black light (Sale temps en eaux troubles… - 2013), and video and magic (Dans la bouche - 2018). Ω Director: Yannick Toussaint / Performers: Yann Berriet, Yannick Toussaint, Laurent Diwo, Agnès Briatte / Scenography: Yannick Toussaint, Charline Dereims with aid from Valentin Monin et Léo Taulelle / Graphic design: Laurent Diwo / Music: Ludovic Derrière and Jean-Nicolas Mathieu

Yannick Toussaint - Cie Histoire d'Eux performance calendar

TOUT SEMBLAIT IMMOBILE  – Theater performance • 2013 • Nathalie Béasse • 70 minutes • Théâtre de la Bastille, 17, 18, 23, 24 and 25 May, 18h30 • OCCUPATION#3 Α Continuing an exploration of the roots of her endeavor, Nathalie Béasse decocts a story of experts confounded and inexplicable transitions towards… narrative and, once again, the fear, gladness and magics of childhood. Nathalie Béasse’s creations include an extensive in situ series entitled mes petites météorities. All the works presented during occupations are based on previous creations except aux éclats, a work-in-progress. Ω Concept, script and set design: Nathalie Béasse in collaboration with, Étienne Fague, Érik Gerken and Camille Trophème / Lighting: Natalie Gallard / Music: Camille Trophème / Set: Étienne Baillou / Painting: Julien Parsy

ROSES – Theater performance • 2014 • Nathalie Béasse • 70 minutes • Théâtre de la Bastille, 21 and 22 May, 20h ; 23 - 25 May, 21h • OCCUPATION#3 Α roses is free adapation of Richard III, providing the instrument of translation from sensation and fairy tale towards examination of the human condition with an experiment in literary-figure role-playing. Nathalie Béasse’s creations include an extensive in situ series entitled mes petites météorities. All the works presented during occupations are based on previous creations except aux éclats, a work-in-progress.  Ω Concept, script and set design: Nathalie Béasse in collaboration with Étienne Fague, Érik Gerken, Béatrice Godicheau, Clément Goupille and Anne Reymann / Lighting: Natalie Gallard / Music: Nicolas Chavet and Julien Parsy

SOFTCORE – A HARDCORE ENCOUNTER • 2018 • Lisa Vereertbrugghen • 45 minutes • La Dynamo de Banlieues Bleues, · 22 & 23 May 2019, 20h  • Rencontres chorégraphiques internationales en Seine Saint Denis Α Lisa Vereertbrugghen explores how the “softcore” (body) mixes it up with “hardcore”, the heart-seizing techno-style music that vibrâtes through a dancer at 200 beat per minute. With live music remixed with her own voice, she reonstitutes an expérience of a body that is porous, supple, ready to adapt in a poetic and analytic tableau vivant. Ω Concept, choreography and performance: Lisa Vereertbrugghen / Sound: Michael Langeder / Lighting: Vera Martins / Artistic advisors: Madison Bycroft, Sabine Cmelniski, Nestor Garcia Diaz

Lisa Vereertbrugghen performance calendar

CO-PULATION – Theater of objects   • 2019 • Fu Le - Cie Tetrapode • 60 minutes • ECAM - Théâtre du Kremlin-Bicêtre, 24 May, 20h30  • 10e biennale internationale des arts de la marionette Α Choreography working around the quest for differentiation - emotion, sensation, gesture - to escape solitude. Fu Le and the cie Tetrapode migrated from Taiwan to Paris and are known for their carefully elaborated scenography ; Fu Le is a performance artists as well as sculptor, author and photographer. His other dance performances include A distant land (2017) and Raining ropes (2015) Ω Choreography: Fu Le / Performers: Cie Tetrapode / Production: Cie Tetrapode ECAM Théâtre du Kremlin-Bicêtre

Fu Le performance calendar

STEREO • 2019 • Liz Santoro & Pierre Godard – Cie Le principe d’incertitude • 50 minutes • MC93 – Bobigny, 25 May2019, 19h 30; 26 May, 18h • Rencontres chorégraphiques internationales en Seine Saint Denis Α Stereo – performed by Liz Santoro – explores the interaction of movement and the signs that produce and surround it. As she dances her solo piece, a video feed allows the dance performer Cynthia Koppe to write and present her thoughts and feelings in real time from New York; a voice synthesizer enables Santoro to hear and respond to Koppe through movement. The complex of language-body-movement and mind through the filter of scientific notions is a fundamental theme of Liz Santoro & Pierre Godard’s excellent work, which turns out to be among the most emotionally poignant dance performances available today. Ω Concept: Liz Santoro and Pierre Godard with Cynthia Koppe / Performer live: Liz Santoro / Performer distant: Cynthia Koppe Music: Greg Beller / Costumes: Reid Bartelme

Liz Santoro & Pierre Godard – Cie Le principe d’incertitude performance calendar

NEAR • 2018 • Ballet Cullberg & Eleanor Bauer • 60 minutes • MC93 – Bobigny, 25 May 21h & 26 May, 16h30 • Rencontres chorégraphiques internationales en Seine Saint Denis Α The performers of the Ballet Cullberg invite a choreographer to work provisionally with them and, after a trial period, decide whether to go on to finish the project. Near, a piece on gesture, the individual and the group, and the relation between a broad variety of subjects and matters and persons the result of this process. Ω Concept : Eleanor Bauer, Jonatan Leandoer Håstad & Yung Lean / Choreography: Eleanor Bauer / Performers: Ballet Cullberg : Adam Schütt, Anand Bolder, Camille Prieux, Daniel Sjökvist, Eleanor Campbell, Gesine Moog, Giacomo Citton, Katie Jacobson, Mohamed Y. Shika, Suelem de Oliveira da Silva, Sylvie Gehin Karlsson, Unn Faleide / Music: Jonatan Leandoer Håstad & Yung Lean with Frederik Valentin / Scene: Josefin Hinders with Linnea Birkelund  / Costumes: Pontus Pettersson/ Lights: Jonatan Winbo / Rehearsals : Lisa Drake

Eleanor Bauer performance calendar

WALK#3 • 2019 • Joanne Leighton • +/- 240 minutes • Starting points: Regard du cygne, Micadanses (near Saint Paul in the Marais), l’Atelier de Paris (at the Cartoucherie) and Canal St Martin – Musée nationale de l’histoire de l’immigration (Porte Dorée), 1 June, 17h • June Events • Walking, Anne Thérèse de Keersmaeker believes, is the purest form of dance. Walking is the first of our gestures that turns ordinary moments into intentional and unique movement. De Keersmaeker’s objective for last September’s Slow Walk was to “meditate” the urban environment and re-appropriate it. Joanne Leighton’s Walk#3 invites participants to consider “Step by step, what world are we making?”. The walk from the Regard du cygne dance-performance space, a bit over five kilometers, which I recommend, brings you through working class, gentrified and immigrant neighborhoods that represent pretty well Paris (and France) hors tourisme today. The walk is followed at 19h with the in situ performance 9000 pas (“9000 steps”) at the Musée nationale de l’histoire de l’immigration. Ω Choreography & direction: Joanne Leighton / Choeographer-performers: Lauren Bolze, Marion Carriau, Alexandre Da Silva, Marie Fonte, Marie-Pierre Jaux & Arthur Perole / Music : Drumming, Steve Reich / Sound: Peter Crosbie / Lighting: Sylvie Mélis / Costumes : Alexandra Bertaut / Set(s): Tovo & Jamil / Production: WLDN

Joanne Leighton performance calendar

RITUEL POUR UNE GÉOGRAPHIE DU SENSIBLE – Dance performance and installation, complemented with GÉOGRAPHIE CORPORELLE, an apprenticeship in touch • 2018  • Julie Nioche• 60 minutes/installation • Maison des Métallos, 2 June, 15h – 18h ; 3 June, 14h – 17h ; 7 June, 14h – 17h ; 8 June, 18h – 21h30 ; Géographie corporelle, 7 & 22 June, all day :  •  Α Julie Nioche’s dance performance installation invites spectators to become co-creators in a ritual in order to make their bodies their own country with a ritual that enables easy passage over their boundaries of imagination, psychology and perception. Accompanied by dance performers, up to forty participants use installations called “At home”, “On the way” and “From the center” that help them consider how they embody their bodies and relations with others. Miléna Gilabert created Géographie and is accompanied for the apprenticeship sessions and aided by Blandine Minot Stora, Cécile Brousse and Cécile Ravenel ; sessions last 20 minutes. The ritualization concept of Rituel has its roots in the experience of Filiz Sizanli and Mustafa Kaplan, who founded Taldans, a theater research laboratory in Istabul in 2003. During the violent repression of the 2013 pro-democracy demonstrations in Turkey artist-activists such as Sizanli and Kaplan created meeting and assembly spaces that enabled continued human exchange and toleration in the midst of the violence. Julie Nioche is a dancer, choreographer and osteopath. She founded and heads up the association A.I.M.E., which looks to spread knowledge about the body to the general public and which has developed Rituel. Nioche’s other recent works include Nos amours (2016), Qu’est-ce qui vous amène? (2017), La taille de nos âmes (2018) and Rituel pour une géographie du sensible (2018).  Ω Concept and performers: Julie Nioche, Filiz Sizanli et Mustafa Kaplan / Music: Alexandre Meyer / Set : Laure Delamotte-Legrand with the aid of Vincent Gadras  / Installation management : Max Potiron

Julie Nioche perfomance agenda


Eva Yerbabuena on the ‘Arte Flamenco’: the magic within flesh and bone [by Tracy Danison]

MagicEva_Yerbabuena_Copyright_David Mudarra“Carne y hueso” – Flesh and bone – Eva Yerbabuena’s most recent creation will feature in July at the 31st annual Festival Arte Flamenco, in the city of Mont de Marsan


If there are accidents, I quite by accident met my friend Wan in the street the other evening.

Wan is one those incredibly informed persons whose sincere modesty shames one to credulity. When I told him what follows, he remarked, “Ahh, you mean ‘transubstantiation’, cher. Abracadabra. Magic. Blood into wine, bread into flesh, like the Catholic Mass. You know, when the priest says This is my blood. This is my body. Poof! Magic. Surely it is.”

3EvaYerbabuenaJosÇ Ignacio Rodr°guez 2 - copie
“Ahh, you mean ‘transubstantiation’, cher. Abracadabra. Magic,” Wan said

Later, on my way home, I read that the anthropologist Donald Brown says that all human beings, whom he calls “Universal People”, practice magic and dance.

So, I met the top Flamenco performer Eva Yerbabuena at a lunch, I told Wan; she sat across from me. I confided to him what a positively beautiful woman she is and I added that she is a perceptive bundle of presence, charm and animation. She moves like a well-mannered panther, I said; she isn’t fond of fatty foods, either, I remarked, as befits a person who has actually to work with her body rather than just use it. Eva Yerbabuena is a stage name. She was born Eva María Garrido García in Germany to Spanish Gastarbeiters in the years I was doing my army service there. She was early packed off to Spain.

During a short pre-lunch presentation of herself and the esthetic and cultural importance of Festival Arte Flamenco, Eva Yerbabuena plucks the back of her wrist, says that Flamenco is “carne y hueso” – flesh and bone, a vessel. The Festival’s artistic director, Sandrine Rabassa, interprets.

Carne y hueso is the title of Yerbabuena's newest piece.

When we sit down to eat, Eva Yerbabuena tells me she started doing Flamenco at 11. I learn later that her career began at 15. When I ask about it, she says Flamenco is the art of transmitting “the moment”. She plucks the back of her wrist and continues, explaining that “the moment” (within the vessel of carne y huesos ?) is the ecstasy created by the combination of Flamenco’s exactly precise (not intense) movement, percussive guitar rhythms and rough, acapella-flavored song.

2EvaYerbabuenaJavier Valenzuela
Flamenco is the art of transmitting “the moment”, Eva Yerbabuena says

The moment “where I get goosebumps”, she concludes. Someone near me murmurs loud, “like an orgasm”. Sandrine Rabassa, still interpreting, hears the remark, thinks about it, with silence acquiesces. The people around me nod.

Eva Yerbabuena continues. The part of the professional in Flamenco, she says, is transmitting “the moment” even when she cannot herself feel the ecstasy in it. She pulls out her phone. She taps up a private video of a dozen or so African villagers stamping their feet together, like in an Irish clog dance.

That is Flamenco, she says, handing the phone around.

Eva Yerbabuena’s performances, along with such Flamenco dancers, singers and musicians as Maria Moreno, Joaquin Grilo, Antonio Rey, Diego del Morao, Maria

Terremoto, Inès Bacanor and Olga Pericet, make up the offering of the 31st annual Festival Arte Flamenco from 2 to 6 July in the little city of Mont de Marsan.

Mont de Marsan, which, like so much of the French Southwest has strong and long-standing social, economic and cultural ties to Spain and the Basque lands, is an excellent place to start an exploratory tour of the one of this most charming region of France, lying on the edge of the flat pine-lands called “Les Landes” and by car about an 1.30h from Bordeaux in the north or Biarritz in the south and 2.30h from the lovely city of Toulouse to the West. In addition to a full calendar of best-quality Flamenco performance, the program turns around cultural participation and education, including dance training and local school activities, films, exhibitions and activities meant to expose the general public to the art.