Press File 14 30 Sept 2016

PRESS FILE 14 30 SEPT 2016

WWW BIENNALEDELADANSE COM he Lyon Dance Biennale (14-30 September 2016) features 43 T productions including 23 French new works and premieres – in Lyon, the wider metro area, and across the Auvergne- Rhône-Alpes region. For this 17th edition, Dominique Hervieu is highlighting the dialogue between highbrow dance and SUM popular dance, and offering a snapshot of current output. As well as the shows, the Biennale line-up includes talks, debates, workshops… and the famous Défilé, a parade of 5,000 participants on the theme “together”. Its finale? A new creation by Yohann Bourgeois, staged on Place Bellecour. MARY MEDIA INFORMATION 2016 PROJECT | P.2 [PARIS] CALENDAR | P.4 Dominique Berolatti +33(0)6 14 09 19 00 THE BIENNALE MAP | P.6 [email protected] [LYON] TRAILS | P.8 Jean-Paul Brunet 1 +33(0)6 09 09 89 16 EXHIBIT | P.10 [email protected] LE DÉFILÉ | P.13 Laura Lamboglia +33(0)6 83 27 84 46 NATIONAL CONFERENCE | P.16 [email protected] assisted by Adèle Auge IN ANTICIPATION… | P.17 +33(0)4 27 46 65 68 SHOWS | P.18 DOWNLOADS FAMILIES | P.86 www.biennaledeladanse.com “Press” section SCHOOLS | P.87

FOLLOW US! Twitter #BiennaleDanse / BiennaleDanse Facebook La Biennale de Lyon / Danse Instagram #Biennaledeladanse Youtube Biennale de Lyon Danse 17TH DANCE BIENNALE BY DOMINIQUE HERVIEU Artistic director, Lyon Dance Biennale

WHAT’S THE IDENTITY OF THE LYON DANCE BIENNALE? tendency is also reflected in Sound of Music by Yan more than a century, dance has mirrored the deep highbrow dance – what you go to see – gives rise to The Biennale has three core missions: supporting Duyvendak, co-devised with Olivier Dubois, Christophe upheavals that have shaken societies. But I note that participations and commitments that are the stuff of the production of new work, showing the aesthetic Fiat and Michael Helland. Duyvendak, originally a the artists now addressing political subjects are doing culture and society. It’s up to us to deepen this bond diversity of dance, and helping the public to gain its conceptual artist, who describes the show as an so in a far more complex way. Condemnation has given with the public, to cultivate their taste for new work, bearings and thus find its way around this teeming encounter between pleasure and meaning, is relaxed way to more sensitive and embodied approaches. It and to help them enjoy imaginations other than their creativity. What always comes first for me is the power about combining a political piece with the format of is a far cry from over-emphatic militant art – and it’s own. of a piece, irrespective of register: contemporary, hip a musical, “because it’s beautiful and makes you feel stimulating! Politics can be found in the form, in how The Fabrique du Regard (Studio of Perspective), which hop, neo-classical, circus, performance, dances from good”. He readily embraces the idea of pleasure, long a piece relates to the socio-cultural context, in the truly serves as a school for spectators, attracts around the world… This is why the Lyon Dance Biennale viewed as suspect in France. topic or references… The exhibition at the Musée des about 8,500 people during each edition. I am seeking has popular appeal but is experimental too and can Confluences, with a specific lead-in to the subject of to invent an inclusive cultural policy, and one of my resonate on Place Bellecour amid a 15,000-strong YOU TOO EMBRACE THE IDEA OF PLEASURE IN the art/politics relationship, is most enlightening in this main objectives is to anchor dance among the gene- crowd or in a room of 120 spectators. CONTEMPORARY WORK… respect. ral public. The Biennale de Lyon, in partnership with I’ve often felt that, in the field of contemporary choreo- French daily Libération, is hosting a national event: a WHAT ARE THE MAIN THEMES OF THIS YEAR’S PRO- graphy, the earnest and the profound were unable to WHICH BIENNALE ARTISTS ARE EXPONENTS OF THIS day of debate around the question “Can culture be a GRAMMING? WHAT ARE WE GOING TO SEE? go hand-in-hand with sensuality, beauty or aesthetic APPROACH? pillar of democratic action, of open-mindedness and This year’s Biennale features 23 new pieces and pleasure. Perhaps this is due to the French mind, which I naturally think of Alain Platel, whose work is always tolerance, of personal and collective enrichment?”. French premieres. Above all, it’s a panorama of new separates physical and mental, seriousness and plea- totally plugged into the disorders in our world, with his Today, the ravages of defensive inwardness, cultural work today – a snapshot of this profuse art form, sure? Personally, I love the current period and its state extremely singular and profound perspective on what isolation, and populism are giving artists and cultu- from which a number of ‘force lines’ emerge. For of flux… The rich array of values covered by aesthe- it means to be human. Bouchra Ouizguen, with her Aita ral institutions a new responsibility, so strongly is the this edition, we will highlight the dialogue between tic pleasure excludes no topic or demanding artistic performers, will develop her approach combining poli- making of art acknowledged as a way to overcome highbrow dance and popular dance, which is clearly standard. I don’t mean to say that it’s the only value, tics and Moroccan tradition. Marina Mascarell, one of social group-specific and intellectual rigidities. We apparent in current output. or the highest value of art, but nor should it be treated this Biennale’s discoveries, will stage an openly femi- will ask a central question: can culture make society? with systematic distrust – especially as pleasure often nist piece borne by the virtuoso skill of the Ballet de WE SEEM TO HAVE REACHED A TIPPING-POINT IN exists in tandem with a human impact that is doing us l’Opéra de Lyon’s dancers. Greek performer Euripides THE CORPS REBELLES EXHIBITION, RUNNING FROM 3 THE CHOREOGRAPHY BEING CREATED. THESE PAST good today. To examine the subject in greater depth, Laskaridis will massacre social conventions in his pre- 13 SEPTEMBER TO 5 MARCH AT THE MUSÉE DES 20 YEARS, MANY CONTEMPORARY ARTISTS HAVE the Biennale will host an academic study day, open posterous cabaret. Roy Assaf will address the Six Day CONFLUENCES, RETRACES 100 YEARS OF DANCE FOCUSED ON DECONSTRUCTING DANCE. NOW, THERE to all, that carries the title “Dance: just for pleasure?” War and how brutal the conflict was for young Israelis HISTORY IN THE 20TH CENTURY. IT’S ALSO A WAY OF SEEMS TO BE A DIFFERENT ISSUE IN PLAY… and will explore the history of dance through the prism on “the hill”. I am also very pleased that the Groupe GETTING THE GENERAL PUBLIC TO DEVELOP A MORE Indeed. What we appear to be seeing today is dance of the antagonism between Dionysian and Appollonian Acrobatique de Tanger’s first self-authored piece will COMPLEX RELATIONSHIP WITH DANCE… being revitalised by other forms, and particularly pleasure. come into being at the Biennale de Lyon. Their crea- I’m very happy that this exhibition, a project led by the through drawing on popular kinds of artistic language tion will mark a watershed – an aesthetic and political musée des Confluences and co-produced with the that were previously excluded. Artists who went IN THE CURRENT CONTEXT, MARKED BY THE WAVERING emancipation. Musée de la Civilisation in Québec, is able to echo the through an extremely rigorous Deconstructionist period OF OUR POLITICAL CERTAINTIES, WHAT ROLE CAN Dance Biennale’s programming. The exhibition is based are now tapping into the absolute freedom of poetic BE PLAYED BY ART IN GENERAL AND DANCE IN CAN DANCE BE ANY USE AGAINST THE FORCES THAT on a parallel between the history of contemporary fantasy, physical exertion, the intimacy of portraiture, PARTICULAR? ARE ATTACKING COMMUNITY TOGETHERNESS? dance and the history of landmark events in the 20th narrative, and conversation between stage dance and I don’t think the illusion of full-on combat should be I see no salvation other than school and art education. century. It’s an exhibition intended for everyone – from anonymous dance. Yet this is no backward-looking, maintained… To paraphrase Yuri Dombrovsky, I would I’m sure that for some young people, experiencing Novices to professionals – and features an original nostalgia-fuelled return to the past. I am very pleased say that “now more than ever, man is in need of use- aesthetics is the only way they can explore some of design with innovative digital exhibits. For instance, that the Biennale de Lyon will stage the new piece by lessness”. As we face an uncertain world, let’s respond the big questions, to do with openness and humanity. visitors can watch video excerpts of seminal dance Olivier Dubois, who militates for “the intelligence of by exercising the finest art; our rampart is the power The Biennale’s political challenge is essentially works from the 20th century. sensation”. Christian Rizzo takes inspirations from the of art for its own sake… Artworks must not necessarily embodied by the Défilé, which involves a whole Interview by Maxime Fleuriot dance which he has abundantly partaken in at clubs; have a function, and it’s for this reason that they are year’s work with 5,000 participants, many of whom Cecilia Bengolea and François Chaignaud will continue indispensable. Bodies, through their imaginative ability, are disconnected from culture. The purpose of this to insatiably open up the realm of contemporary are able to challenge the order of the sensory world parade is to bond with society in all of its variety. It is dance to other disciplines; just like Alessandro and put forward fresh configurations. I feel that this a symbol of an open-minded, fluid society. We work Sciarroni, who is creating a new piece for the Ballet de power of invention makes a work political because it hard so that all the participants come into contact l’Opéra de Lyon. The choreographic objective of Olivia opens up new fields to the practice and aesthetics of with the programming and can go to see the shows. Grandville’s new work is to produce a profusion of dance. From now on, the Défilé will end with the performance gestures involving exertion: jumping, running, spinning, I don’t wish to have a divisive attitude regarding “poli- of a contemporary piece on Place Bellecour. This throwing oneself to the floor – “kinds of impetus very tical art” and “art for art’s sake”; the two approaches year, it’s a show by Yoann Bourgeois. This dialogue different from my previous piece,” she announces. This have long co-existed and are both interesting. For between popular dance – what you do yourself – and CALENDAR TUE 13 WED 14 THU 15 FRI 16 SAT 17 SUN 18 MON 19 TUE 20 WED 21 THU 22 FRI 23 SAT 24 SUN 25 MON 26 TUE 27 WED 28 THU 29 FRI 30 SAT 1 AKRAM KHAN Maison de la Danse | p.78 7.30pm AKRAM KHAN Espace Albert Camus, Bron | p.78 2.30pm 8.30pm ALAIN PLATEL Maison de la Danse | p.70 8.30pm 7.30pm BALLET DE L’OPÉRA DE LYON Opéra de Lyon | p.19 8.30pm 8.30pm 8.30pm 8.30pm 7pm BATTLE OF STYLES Palais des sports de Lyon | p.83 8.30pm BOUCHRA OUIZGUEN Amphi des Trois Gaules | p.48 4pm BOUCHRA OUIZGUEN Les Subsistances - Verrière | p.48 7pm BOUCHRA OUIZGUEN Musée des Confluences - Parvis | p.48 1pm BOUCHRA OUIZGUEN TNP, Villeurbanne - Parvis | p.48 6pm CATHERINE GAUDET TNP, Villeurbanne - Petit Théâtre | p.80 7pm 7pm CECILIA BENGOLEA & FRANÇOIS CHAIGNAUD Le Toboggan, Décines | p.62 9pm 6pm CHRISTIAN RIZZO Opéra de Lyon | p.45 9pm 9pm CNDC D’ANGERS - HERVÉ ROBBE Musée des Confluences | p.12 2.30pm 2.30pm 12.30pm 4.30pm 4.30pm 7.30pm COLLECTIF PETIT TRAVERS Le Toboggan, Décines | p.34 8.30pm 8.30pm 9.30pm CRISTIANA MORGANTI Théâtre de la Croix-Rousse | p.64 5pm 3pm 8pm DANIEL LINEHAN Théâtre de la Renaissance, Oullins | p.60 7pm DAVID WAHL Maison de la Danse, studio | p.28 9pm 7pm 7pm DENIS PLASSARD Espace Culturel l'Atrium, Tassin-la-Demi-Lune | p.54 8.30pm DENIS PLASSARD Théâtre de Givors | p.54 8.30pm DENIS PLASSARD Théâtre Jean Marais, Saint-Fons | p.54 8.30pm DENIS PLASSARD L'Épicerie Moderne, Feyzin | p.54 8.30pm 5 EURIPIDES LASKARIDIS Maison de la Danse, studio | p.74 7pm 9.30pm FABRIZIO FAVALE Radiant - Bellevue, Caluire-et-Cuire | p.68 8.30pm GROUPE ACROBATIQUE DE TANGER Célestins, Théâtre de Lyon | p.22 8pm 8pm 8pm 8pm 8pm 8pm 8pm ISRAEL GALVÁN Maison de la Danse | p.26 7.30pm 8.30pm 8.30pm JEAN-CLAUDE GALLOTTA & OLIVIA RUIZ Maison de la Danse | p.42 7.30pm 8.30pm 8.30pm 8.30pm JONAH BOKAER TNP, Villeurbanne - Grand Théâtre | p.76 8.30pm 8.30pm 8.30pm JOSETTE BAÏZ Espace Alpha, Charbonnières-les-Bains | p.72 8.30pm KAORI ITO Le Sémaphore, Irigny | p.58 8.30pm LOUISE LECAVALIER Théâtre de la Renaissance, Oullins | p.66 8pm 8pm MARION LÉVY Théâtre de Vénissieux | p.84 3pm OLIVIA GRANDVILLE Théâtre de la Croix-Rousse | p.50 7pm 7pm OLIVIER DUBOIS TNP, Villeurbanne - Grand Théâtre | p.56 9pm 9.30pm 9pm PATRICE THIBAUD Théâtre Théo Argence, Saint-Priest | p.32 8.30pm PATRICE THIBAUD Radiant - Bellevue, Caluire-et-Cuire | p.32 8.30pm 8.30pm 4pm 8.30pm PATRICE THIBAUD Maison du Peuple, Pierre-Bénite | p.32 8.30pm RACHID OURAMDANE TNP, Villeurbanne - Petit Théâtre | p.52 7pm 7pm 7pm ROY ASSAF Centre Culturel Charlie Chaplin, Vaulx-en-Velin | p.36 8.30pm ROY ASSAF Le Polaris, Corbas | p.36 8.30pm ROY ASSAF La Mouche, Théâtre Saint-Genis-Laval | p.36 8.30pm THIERRY MALANDAIN Amphithéâtre Cité Internationale | p.30 8.30pm 3pm 3pm 8.30pm VINCENT DUPONT Théâtre Nouvelle Génération - TNG | p.38 7pm 10am 7pm 3pm 2.30pm 7pm YAN DUYVENDAK Théâtre de la Croix-Rousse | p.24 8pm 6.30pm 6.30pm YOANN BOURGEOIS Place Bellecour | p.15 5pm YUVAL PICK Les Subsistances - Hangar | p.40 8.30pm 8.30pm THE BIENNALE MAP M REBOUND | THE BIENNALE ACROSS THE REGION É T Fabrizio Favale - Fort Apache See p.68 1 ALBERTVILLE 8 CLERMONT-FERRAND Musée d'art moderne et contemporain de R Fabrizio Favale - Ossidiana See p.68 Christian Rizzo - le syndrome ian See p.45 Saint-Étienne Métropole Fri 23, 7.30pm Le DÔME Théâtre Fri 30, 8pm La Comédie de Clermont-Ferrand Mon 26, [Ticket office] 04 77 79 52 41 | [Ticket office] 04 79 10 44 80 | dometheatre.com 8.30pm | Tue 27, 8.30pm [email protected] P [Ticket office] 04 73 29 08 14 | 19 Collectif Petit Travers - Dans les plis du lacomediedeclermont.com 13 SALLANCHES O paysage See p.34 Denis Plassard - Rites See p.54 L Le DÔME Théâtre Thu 6 Oct, 8pm Cristiana Morganti - Jessica and me See p.64 Salle de spectacle Léon Curral Sat 1st Oct, 8pm 20 33 [Ticket office] 04 79 10 44 80 | dometheatre.com La Comédie de Clermont-Ferrand Thu 29, [Ticket office] 04 50 91 56 46 E st 8.30pm | Fri 30, 8.30pm | Sun 1 Oct, 8.30pm 35 2 ANDRÉZIEUX-BOUTHÉON [Ticket office] 04 73 29 08 14 | 14 THONON-LES-BAINS Fabrizio Favale - Ossidiana See p.68 lacomediedeclermont.com Kaori Ito - Je danse parce que je me méfie Théâtre du Parc Wed 28, 8pm des mots See p.58 32 22 [Ticket office] 04 77 36 26 00 | theatreduparc.com Akram Khan - Chotto Desh See p.78 Maison des Arts du Léman Tue 4 Oct, 8pm La Comédie de Clermont-Ferrand Wed 7 Oct, [Ticket office] 04 50 71 39 47 | mal-thonon.org 26 3 ANNEMASSE 2.30pm and 8.30pm | Sat 8 Oct, 3pm and Louise Lecavalier - Mille batailles See p.66 8.30pm | Sun 9 Oct, 3pm 15 VALENCE Château Rouge Thu 29, 7.30pm [Ticket office] 04 73 29 08 14 | Cristiana Morganti - Jessica and me See p.64 18 [Ticket office] 04 50 43 24 24 | chateau-rouge.net lacomediedeclermont.com La Comédie de Valence Tue 20, 8pm | Wed 21, 8pm 4 AURILLAC 9 COURNON-D'AUVERGNE [Ticket office] 04 75 78 41 70 | Rachid Ouramdane - TORDRE See p.52 Patrice Thibaud - Franito See p.32 comediedevalence.com 27 Théâtre d’Aurillac Wed 28, 8.45pm La Coloc' de la Culture Sun 9 Oct, 5pm 29 [Ticket office] 04 71 45 46 04 | aurillac.fr/theatre [Ticket office] 04 73 77 36 10 28 Akram Khan - Chotto Desh See p.78 34 31 LUX Fri 23, 8pm Kaori Ito - Je danse parce que je me méfie 10 ÉCHIROLLES [Ticket office] 04 75 82 44 15 | lux-valence.com 30 des mots See p.58 Thierry Malandain - La Belle et la Bête See p.30 Théâtre d’Aurillac Tue 11 Oct, 8.45pm La Rampe Tue 20, 8pm | Wed 21, 8pm 16 VILLEFRANCHE-SUR-SAÔNE [Ticket office] 04 71 45 46 04 | aurillac.fr/theatre [Ticket office] 04 76 40 05 05 | Patrice Thibaud - Franito See p.32 25 larampe-echirolles.fr Théâtre de Villefranche Tue 27, 8.30pm | 23 21 5 BOURG-EN-BRESSE Wed 28, 7.30pm Patrice Thibaud - Franito See p.32 11 GRENOBLE [Ticket office] 04 74 68 02 89 | Théâtre de Bourg-en-Bresse Mon 3 Oct, 8.30pm Jean-Claude Gallotta & Olivia Ruiz - Volver theatredevillefranche.asso.fr [Ticket office] 04 74 50 40 00 | theatre-bourg.com (sneak preview) See p.42 MC2: Grenoble Sat 17 Akram Khan - Chotto Desh See p.78 6 BOURGOIN-JALLIEU [Ticket office] 04 76 00 79 00 | mc2grenoble.fr Théâtre de Villefranche Wed 12 Oct, 7.30pm 7 Patrice Thibaud - Franito See p.32 [Ticket office] 04 74 68 02 89 | Théâtre Jean Vilar Thu 22, 8.30pm 12 SAINT-ÉTIENNE theatredevillefranche.asso.fr [Ticket office] 04 74 28 05 73 Thierry Malandain - La Belle et la Bête See p.30 Opéra de Saint-Étienne - Grand Théâtre 17 VILLEFONTAINE 7 CHAMBÉRY Massenet Mon 26, 8pm | Tue 27, 8pm Josette Baïz - Welcome See p.72 Alain Platel - Malher Projekt (titre provisoire) [Ticket office] 04 77 47 83 40 | Théâtre du Vellein Thu 29, 8.30pm | Fri 30, See p.70 operatheatredesaintetienne.fr 8.30pm Espace Malraux Wed 12 Oct | Thu 13 Oct [Ticket office] 04 74 80 71 85 | [Ticket office] 04 79 85 55 43 | Alain Platel - Malher Projekt (working title) theatre.capi-agglo.fr espacemalraux-chambery.fr See p.70 24 La Comédie de Saint-Étienne Fri 30, 8pm Cristiana Morganti - Jessica and me See p.64 [Ticket office] 04 77 25 14 14 | lacomedie.fr Théâtre du Vellein Tue 4 Oct, 8.30pm [Ticket office] 04 74 80 71 85 | theatre.capi-agglo.fr THE BIENNALE IN THE LYON METRO AREA

14 18 BRON 26 LYON 28 PIERRE-BÉNITE 3 Akram Khan - Chotto Desh See p.78 Yoann Bourgeois - Fugue / Trampoline - Patrice Thibaud - Franito See p.32 5 Variation numéro 4 See p.15 19 CALUIRE-ET-CUIRE CNDC d’Angers - Hervé Robbe See p.12 29 SAINT-FONS 16 13 Patrice Thibaud - Franito See p.32 Ballet de l’Opéra de Lyon See p.19 Denis Plassard - A.H.C. - Albertine, Hector Fabrizio Favale - Ossidiana See p.68 Groupe Acrobatique de Tanger - Halka See p.22 et Charles See p.54 Yan Duyvendak - Sound of Music See p.24 25 1 20 CHARBONNIÈRES-LES-BAINS Israel Galván - FLA.CO.MEN See p.26 30 SAINT-GENIS-LAVAL Josette Baïz - Welcome See p.72 David Wahl - Histoire spirituelle de la danse Roy Assaf - Six Ans Après & La Colline See p.36 17 See p.28 8 21 CORBAS 31 SAINT-PRIEST 6 Thierry Malandain - La Belle et la Bête See p.30 9 Roy Assaf - Six Ans Après & La Colline See p.36 Vincent Dupont - Stéréoscopia See p.38 Patrice Thibaud - Franito See p.32 2 7 Yuval Pick - Are friends electric? See p.40 12 22 DÉCINES Jean-Claude Gallotta & Olivia Ruiz - Volver 32 TASSIN-LA-DEMI-LUNE Collectif Petit Travers - Dans les plis du Voir p.42 Denis Plassard - A.H.C. - Albertine, Hector paysage See p.34 Christian Rizzo - le syndrome ian See p.45 et Charles See p.54 Cecilia Bengolea & François Chaignaud - Bouchra Ouizguen - Corbeaux See p.48 11 NEW WORK 2016 See p.62 Olivia Grandville - Combat de Carnaval et 33 VAULX-EN-VELIN 10 Carême See p.50 Roy Assaf - Six Ans Après & La Colline See p.36 4 R 23 FEYZIN Cristiana Morganti - Jessica and me See p.64 É Denis Plassard - A.H.C. - Albertine, Hector Alain Platel - Mahler Projekt (working title) 34 VÉNISSIEUX et Charles See p.54 See p.70 Marion Lévy - Et Juliette See p.84 G Euripides Laskaridis - Relic See p.74 35 I 15 24 GIVORS Akram Khan - Chotto Desh See p.78 VILLEURBANNE Denis Plassard - A.H.C. - Albertine, Hector Jan Fabre See p.82 Bouchra Ouizguen - Corbeaux See p.48 et Charles See p.54 Battle of Styles - Floor on Fire See p.83 Rachid Ouramdane - TORDRE See p.52 Olivier Dubois - AUGURI See p.56 25 N IRIGNY 27 OULLINS Jonah Bokaer - Rules Of The Game See p.76 Kaori Ito - Je danse parce que je me méfie Daniel Linehan - dbddbb See p.60 Catherine Gaudet - Au sein des plus raides LYON des mots See p.58 Louise Lecavalier - Mille batailles See p.66 vertus See p.80 HIGHBROW/POPULAR DANCERS TRAIL STUDIO

ighbrow dance and popular dance piece syndrome ian. Yuval Pick will call upon YAN DUYVENDAK he 2016 Dance Biennale turns the [CRISTIANA MORGANTI] became differentiated starting in Kraftwerk to liberate his organic dance. SOUND OF MUSIC spotlight on the heirs to the master This remarkable Italian actress and dancer, the 17th century, particularly at Cecilia Bengolea and François Chaignaud Théâtre de la Croix-Rousse choreographers of the late 20th performed in all of Pina Bausch’s works as H See p.24 T the court of Louis XIV. After that, they will heighten this aesthetic of diversity by century, as they carry contemporary dance of 1993. In her solo Jessica and me, she were successively cross-referenced, mixing medieval Georgian polyphonic songs YUVAL PICK forward. Four exceptional artists and reveals funny and touching anecdotes intertwined or shunned, with the with Jamaican counterculture. Taking a ARE FRIENDS ELECTRIC? emblematic dancers of great companies about herself. This one-woman show passage of time and shifting norms, Decidedly crossover approach, young Les Subsistances – Hangar of the 20th century will guide you on the establishes her as a choreographer in her artistic cycles and social contexts. American choreographer Jonah Bokaer See p.40 Dancers Trail. Learn about their works and own right, while paying tender tribute to In the 20th century, pejorative expressions collaborates with Pharell Williams, the hear them online on the Biennale’s new Pina, to dance and time passing us by. MAURICE BÉJART & HERVÉ ROBBE emerged in reference to folk dance, current king of pop. For the visual aspects programme called Dancers Studio. In performance at Théâtre de la Croix-Rousse MESSE POUR LE TEMPS PRÉSENT - Sat 24, 5pm | Sun 25, 3pm | Tue 27, 8pm See p.49 sometimes scorning it as a form of of the work, they will be collaborating with GRAND REMIX Audiences know the names of major “mass entertainment,” fuelling a debate American artist Daniel Arsham. Groupe Musée des Confluences choreographers who have left their mark [LOUISE LECAVALIER] that amounted to a clash over aesthetic Acrobatique de Tanger revisits traditional See p.12 on dance history, such as Pina Bausch, A star dancer of the 1980s, Louise legitimacy. Today, the trend is to mix Moroccan acrobatics in the first piece Merce Cunningham and William Forsythe. Lecavalier was for 17 years the muse of BATTLE OF STYLES and match styles in unexpected ways. they have created themselves. And to kick But, other than a few exceptions like choreographer Édouard Lock, director of FLOOR ON FIRE Much contemporary choreography off the Biennale, Les Jerks, an excerpt Palais des sports de Lyon Sylvie Guillem, dancers are generally the famous LA LA LA Human Steps com- draws inspiration from folk dance, club from Maurice Béjart’s Messe pour le See p.83 uncelebrated, in spite of their essential pany. Her virtuosity and charisma brought dances and dance styles from musicals, temps présent, an explosive pop work, contribution to the creative process. her to the attention of David Bowie, with GROUPE ACROBATIQUE DE TANGER cabaret and counterculture. During this iconic of the French 1960s counterculture. To give dancers their long overdue whom she performed a memorable duet. HALKA festival, we will examine the ways in All these choreographers embody powerful recognition, Dancers Studio has Decided She will talk about her most recent work, Célestins, Théâtre de Lyon which these references go beyond simple undercurrents of contemporary creation, See p.22 to hand them the mic, along the lines with the same incredible energy she has citation, creating unique vocabularies tackling political, societal and personal of the American TV show Inside the been known for over the past 30 years! and exploring exciting new territory. themes or, conversely, developing formal JONAH BOKAER Actors Studio, where a host interviews In performance at Théâtre de la Renaissance, RULES OF THE GAME Oullins or playful styles of dance. After the long cinema greats about their career. Mon 26, 8.30pm | Tue 27, 8.30pm See p.50 TNP, Villeurbanne – Grand Théâtre hese porous boundaries between period of Deconstruction that shaped How did you become a dancer? Can you 9 See p.76 highbrow and popular dance will the world of dance over the past two live on dancing? How does a dancer serve [JONAH BOKAER] T be one of the main themes of the Decades, these choreographers are CECILIA BENGOLEA the work of a great choreographer? How The youngest dancer to have joined Merce Lyon Dance Biennale 2016. Yan Duyvendak borrowing freely from dance and music of & FRANÇOIS CHAIGNAUD do you continue an artistic career after Cunningham’s company, Jonah Bokaer has will play around with the conventions different eras, faraway lands and sensitive NEW WORK 2016 leaving a famous company? Presented by been creating his own choreographies for of musicals to address the most serious sources, sometimes autobiographical, Le Toboggan, Décines Brigitte Lefèvre – former director of the several years, while continuing to dance See p.62 issues facing society today. We will see driven by the need to create fictitious Paris Ballet de l’Opéra and current director for such greats as Bob Wilson. Premiering the premiere at the Lyon Dance Biennale of memories and traditions in sensual CHRISTIAN RIZZO of the Cannes dance festival – and in France, his newest work carries on the another musical, by Jean- Claude Gallotta, worlds, revisited without any nostalgia. LE SYNDROME IAN Laurent Goumarre – journalist at France American tradition of postmodern dance: co-created with Olivia Ruiz, exploring what To close this Biennale, I chose to spotlight Opéra de Lyon Inter radio station – Dancers Studio will he defines his work through collaboration it means to belong to two different cultures. one of today’s most popular forms of See p.45 bring you up close to Cristiana Morganti, with plastic artists and composers. For Daniel Linehan will use the wry humour choreography: battle, based on hip-hop DANIEL LINEHAN Louise Lecavalier, Jonah Bokaer and Olivia Rules of the Game, the choreographer of sound poetry, just as Hugo Ball did at culture. But the codes of competition will DBDDBB Grandville. worked again with artist Daniel Arsham Cabaret Voltaire, exactly one century ago, be transgressed, as other styles of dance Théâtre de la Renaissance, Oullins and, for the first time, collaborated with in the spring of 1916. Bouchra Ouizguen will join in. For this challenge at the summit, See p.60 the world-famed singer and producer will continue her examination of society we will welcome four crews: two hip-hop Pharell Williams. BOUCHRA OUIZGUEN and folk art with Corbeaux, a performance groups, Saxonz and Pockemon Crew, plus In performance at TNP, Villeurbanne – CORBEAUX Grand Théâtre by cabaret singers and dancers hailing former dancers of the Forsythe Company Amphithéâtre des Trois Gaules | Les Wed 28, 8.30pm | Thu 29, 8.30pm | Fri 30, 8.30pm from the Moroccan Aïtas tradition. and a fourth crew comprising dancers Subsistances | Musée des Confluences | See p.56 After D’après une histoire vraie, Christian from Ballet Preljocaj. The dancers will mix TNP, Villeurbanne Rizzo’s brilliant exploration melding with each other during the event, so a See p.48 [OLIVIA GRANDVILLE] contemporary writing with traditional melting pot will form during the Battle of Classically trained Olivia Grandville joined JEAN-CLAUDE GALLOTTA & OLIVIA RUIZ Mediterranean dances, the choreographer Styles! In its own unique way, each show Compagnie Bagouet just after leaving the VOLVER now creates links with the world of clubbing on this Trail illustrates the paths between Maison de la Danse Ballet de l’Opéra de Paris in 1988. She was and the mythical figure of Joy Division in his highbrow dance and popular dance. See p.42 the star dancer of the last works by Domi- nique Bagouet, including So Schnell, Jours étranges and Necessito. She will present her most recent work, Combat de Carna- val et Carême, driven by the question of rhythm. Ten very different dancers, all with an appetite for movement, launch into a lively dialogue with the famous painting of the same name by Bruegel the Elder. In performance at Théâtre de la Croix-Rousse Wed 21, 7pm | Thu 22, 7pm See p.42 EX HIBIT

13 SEPT 2016 - 5 MARCH 2017 MUSÉE DES CONFLUENCES

The exhibit at the Musée des uring the Biennale, I will propose Both an installation and a work of art unto DANCE AND SOCIETY ACCESS Confluences will tell a tale of humanity several events at the museum, itself, the exhibit Corps rebelles is an invi- Musée des Confluences through a crossing of disciplines, eras including live performances. We will tation to consider contemporary dance In direct resonance with the choreo- L D 86 quai Perrache, Lyon 2 and geographic zones. I am delighted to make a direct tie-in with the themes of the as a universal language. For neophytes or graphers’ talks on the six themes, new films T1 Musée des Confluences have this unique opportunity to bring the art exhibit, with excerpts of a historic work, long-time fans, the show offers an excep- produced by the Musée des Confluences C7, C10, 15, 63 Musée des of dance into the mix of ideas and cultures Messe pour le temps present, by Maurice tional immersion in the world of dance, give viewers a closer look at the sinuous Confluences already present at the museum. Dance has Béjart, a new work by Hervé Robbe, through excerpts of emblematic choreo- movements that have woven through the Extra fee Musée des Confluences a lot to teach us and I am sure that many activities, a performance by Bouchra graphic works which have marked the history of contemporary dance, making the visitors will enjoy (re)discovering its many Ouizgen and an artistic residency by history of dance in the 20th century. connection with the way society’s views functions, rich history, beauty and power Qudus Onikeku. Because dancing in public on the body evolved over the 20th century. of invention. The Corps rebelles exhibit implies, in a way, exposing oneself, using Corps rebelles will demonstrate the The films, with their commentary, draw OPENING HOURS Tue, Wed and Fri 11am – 7pm designed by the museum is an impressive the most immediate of materials: one’s own connections between the great periods of parallels between excerpts of dances and Thu 11am – 10pm tool for understanding dance across body. We hope to touch our audience by contemporary dance and social changes news archives from the different eras. Sat, Sun and public holidays, human history and it fits perfectly with the fully exposing the experience of dance. of the 20th century. The show will be 11 10am – 7pm 2016 Biennale. Who could ask for more! constructed around six main themes Closed on Mondays, 1 January I take my mission very seriously to serve DOMINIQUE HERVIEU tracking the changing representations of THE RITE OF SPRING and 25 December the city of Lyon by proposing all forms of Artistic director of the Dance Biennale the body in contemporary dance and in This multi-screen installation will show eight dance in a range of institutions and to a society: virtuoso dance, organic contem- different versions of the same passage of wide audience. I believe pedagogy is an porary dance, highbrow dance/popular Rite of Spring, by Vaslav Nijinski, Maurice integral part of that mission. dance, dance and politics, exotic and colo- Béjart, Pina Bausch, Marie Chouinard, ADMISSION nial dance, and Lyon: a city of dance. Angelin Preljocaj, Heddy Maalem, Régis Full price €9 The exhibit will offer a wealth of images, Obadia and Jean-Claude Gallotta. Visitors Reduced price €6 using four immersive multimedia installa- will get an idea of the history of dance Free under age 18 and students tions to explore the movement of dance. through the evolution of this great heritage under 26 work and its importance to choreographic BONUS! creation in the 20th century. THE BODY Reduced price for Biennale Pass [STUDIO OF PERSPECTIVES] holders At the heart of the exhibit, six zones will Workshop on the movements of Rite of Spring show six-minute films on large screens, Thu 19 Sept, 7-9pm at Musée des Confluences arranged in a triptych. Each film gives the Bookings, See p.18 mic and the floor to a choreographer: Cecilia Bengolea and François Chaignaud on highbrow dance/popular dance, THE STUDIO Raphaëlle Delaunay on exotic and colonial Opposite the exhibition hall, Danser Joe, dance, Raimund Hoghe on organic dance, an immersive dance studio, invites visitors Daniel Léveillé on dance and politics, to join in a unique choreography centred Louise Lecavalier on virtuoso dance, and on the famous piece Joe (1984) by Jean- Mourad Merzouki on Lyon: a city of dance. Pierre Perreault. The studio will also host The films combine comments by the professional choreographers and dancers choreographers with images from dance for 6-day residencies scheduled once a performances. The black & white aesthetic month, in collaboration with Maison de la [An exhibit at the Musée des Confluences, based on a concept developed by the Musée de la civilisation de Québec, of the films and the use of triptych screens Danse de Lyon. in participation with Moment Factory. Agnès Izrine, Scientific curator (French adaptation). Danser Joe, a participatory give extra depth to the beauty of the experience by Moment Factory, based on Joe by Jean-Pierre Perrreault, in collaboration with the Fondation Jean-Pierre Perreault and the Musée de la civilisation de Québec.] movement.

BOOKING AND INFO ON MUSEEDESCONFLUENCES.FR maurice béjart RESI & hervéCNDC robbe D'ANGERS DENCIES

MAURICE BÉJART, REPÈRES QUDUS ONIKEKU SUN 18 SEPT FROM 2PM Young Nigerian choreographer Qudus PIERRE HENRY Hervé Robbe trained at the Mudra dance TERREAUX | BELLECOUR Onikeku raises the question of the body’s school with Maurice Béjart. Besides pieces MESSE POUR memory in We almost forgot. of choreography, he makes dance films LE TEMPS PRÉSENT such as Une maison sur la colline (2009) Is it possible to transform a dark, buried (EXCERPT) and Next Days (2010). From 1999 to 2011, he memory into a light and graceful object? headed the National Choreography Centre How do we speak about our wounds if HERVÉ ROBBE, (CCN) of Le Havre-Haute-Normandie. He we can’t find the words, and when all that collaborated with British sculptor Richard remains is a body marked by a terrible PIERRE HENRY Deacon on Un terrain encore vague (2011). memory? These are some of the questions ince its inception by Guy Darmet in greater Lyon residents to be part of the GREAT REMIX Since 2012, he has created his works Qudus Onikeku asks. During his residency, 1996, the Dance Biennale Défilé has adventure in even greater numbers, and Vibrancy, sensuality and revolution… with the Travelling & Co company. Hervé audiences will gain a better understanding S become an iconic event of our city to be unafraid of inventing new ways to Messe pour le temps présent by Maurice Robbe has left a strong impression on of the creative process by seeing artists – reflecting its terrific inventiveness, its consider life and the world. Béjart marked the irruption of a new kind many dancers who have passed through at work. His research is based on testi- wealth of human warmth, and its taste for nsemble! is primarily, of course, about th of dance, freed from constraints, just one his company, such as Emmanuelle Huynh, monials gathered during workshops with shared emotion. In titling this 11 edition all the residents of our metro area, year before the May 1968 uprisings. Christian Rizzo and Rachid Ouramdane. amateurs. The choreographer will convey Ensemble!, Dominique Hervieu has chosen E who enjoy enriching experiences this to the audience and analyse excerpts to highlight the event’s uniting power, for with amateur dancers from other The most innovative European choreo- from We almost forgot. As always, this which we thank her greatly. neighbourhoods and towns. Le Défilé, 13 grapher of his time, Maurice Béjart PIECE FOR 20 DANCERS artist, who trained at the National Centre n a period sadly threatened by the a parade prepared over many months, MAURICE BÉJART MESSE POUR LE TEMPS PRÉSENT endeavoured to liberate dance from the temptation to divide and turn inward, is the occasion for intense interaction, (EXTRAIT) 1967 for Circus Arts (CNAC), blends his Yoruba rigidity of ballet. The radically new Messe HERVÉ ROBBE GRAND REMIX culture with European culture, circus with I it is essential to safeguard the spirit of plus a social and geographic mixing that pour le temps present, premiering in 1967 2015 [RUN TIME] 34 MIN dance, music with storytelling – and all of it fraternity that defines our city’s identity; we particularly value. But Ensemble! also

at Palais des Papes during the Avignon Direction artistique de la compagnie with great intelligence and sensitivity. Not and affirm our wish to build the future embraces other lands, in the spirit of Festival, shook the audience: dancers in Robert Swinston to be missed. together by harnessing every single international openness that typifies both jeans, air-borne movements and the elec- Danseurs Maxime Aubert, Yohann Baran, Tue 20 – Sun 25 Sept, 2-6pm person’s energy and creativity. That is Le Défilé and the Dance Biennale. This time tronic music of Pierre Henry which broke Amandine Brun, Auranne Brunet-Manquat, Musée des Confluences, room 13 why Le Défilé is such a precious tradi- round, we have the pleasure of further Pauline Dassac, Julien Derradj, Nolwenn Ferry, [PRICE] Museum admission | museedesconfluences.fr down the barriers between symphony and tion: summoning the universal language strengthening the ties created two years Lara Gouix, Agata Jarosova, Alice Lada, Juan jazz, research and popular music. A major Pablo Landazuri, Théo Le Bruman, Charlotte Run time 80 MIN of dance, it is thus uniquely capable of ago with dancers from Turin, while the event in the history of dance and music, Louvel, Kevin Martial, José Meireles, Victoria Distribution provisoire 6 danseurs et 1 narrateur building bridges, breaking down barriers, “Tarantella” will offer the chance to be which Pierre Henry and the choreographer Pignato, Pauline Sonnic, Jeanne Stuart, Directeur artistique / Chorégraphe / Danseur and opening up new realms of possibility. stirred by the rhythm of a “rumba” blending principal Q. Onikeku Directeur musical K. Jones Hervé Robbe are revisiting, with the help of Anaïs Vignon, Jiaqi Wu Musique Pierre Henry In a city where we want to promote more Catalan, Cuban and Congolese traditions. Création costumes Anne Poupelin Création Actrice/ Rédaction du script E. Brume Création students at the National School of Contem- lumières François Maillot lumières M. Yusuf Création costumes A. Sobayo solidarity and humanity – for that is the It will be a high point in the very image of porary Dance in Angers. Pierre Henry is Le Centre national de danse contemporaine Réalisateur vidéo I. Lartey Coproduction Parc de la ambition of the Métropole de Lyon, the our city: open, diverse, and festive! I WISH offering a 2015 remix of the original com- - Angers est une association Loi 1901 Villette, Paris Ballhaus Naunystrasse, Berlin CCN de new metro-area authority that couples YOU ALL A GREAT PARADE! position, while Hervé Robbe has created subventionnée par le ministère de la Culture et Créteil et du Val de Marne/ Cie Käfig Collectif Culture cultural and social action with economic de la Communication / DRAC des Pays de la Loire, Essonne Fontenay-en-scènes Résidence : Parc de la a dynamic and pulsating choreography, and urban policies – we need art, crea- la Ville d’Angers, la Région Pays de la Loire et le Villette, Paris Ballhaus Naunystrasse, Berlin CDC GÉRARD COLLOMB reflecting the spirit of Béjart’s work. Département du Maine-et-Loire Remerciements à La Briqueterie, Vitry-sur-Seine Théâtre de l’Arlequin, tion and dance now more than ever. The Senator and Mayor of Lyon Two visions of youth, 50 years apart, and la Fondation Maurice Béjart, à Dominique Genevois Morsang-sur-Orge Avec le soutien de Institut 2016 Biennale extends an invitation to all President, Métropole de Lyon an anthology of dance will delight visitors et Juichi Kobayashi pour la reconstruction des Jerks Français, Fonds Transfabrik – Fonds franco-allemand de Maurice Béjart de pour le spectacle vivant. Goethe Institut, Lagos, to the Musée des Confluences during the Avec l’aimable autorisation la Merce Cunningham Trust Nigeria. YK Projects est soutenu par le Conseil Corps rebelles exhibit charting 100 years Régional d’Ile-de-France au titre de la permanence of dance in the 20th century. M.F. artistique et culturelle [VENUE] Musée des Confluences - Hall Tue 13, 2.30pm and 4.30pm | Wed 14, 2.30pm and 4.30pm | Thu 15, 12.30pm et 7.30pm

[PRICES] Free ORCHESTRE ow more than ever, we must fully restore the importance and mea- THE NATIONAL DE LYON AT THE N ning of the word “ensemble” ONL BRASS ON THE (together). Now more than ever, we need community togetherness to be a common TOWN value. When describing the work of the GROUPS For the first time since the inception of REAR Défilé participants, it is also an example the Dance Biennale Défilé, the Orchestre of community togetherness. We should Twelve groups [FEYZIN, SAINT-PRIEST, [SAVOIE & HAUTE- National de Lyon is taking part in the event, equally mention the 300,000 spectators totalling 5,000 CORBAS] SAVOIE] on the float that closes the parade. The AURÉLIEN KAIRO DOMINIQUE who watch this festive parade “together”, amateurs, overseen ONL’s Brass and Percussion Ensemble will & KARLA POLLUX GUILHAUDIN & a parade involving the greatest possible by 250 artists from perform an array of festive music with a CIE DE FAKTO THÔ ANOTHAÏ range of practices, cultures and ages. Lyon, the Métropole rumba flavour. Ville de Feyzin CIE GAMBIT & and the Region, for Ensemble contre vents CIE ANOTHAÏ Europe’s biggest DANCE: AN IDEAL ART FOR REDISCOVE- et marées Espace Malraux / RING THE MEANING OF “COMMON”. choreographed Scène Nationale parade. Do not miss [LYON & VAULX-EN- de Chambéry et he utopia dear to Rousseau – the huge party of the VELIN] de la Savoie “bring men together in order to Biennale Défilé! KADIA FARAUX & Ensemble pour ici improve them” – is at the heart MAÏSSA BAROUCHE et maintenant LIVE CONCERT NOW IT’S YOUR TURN! T List in alphabetic order CIE KADIA FARAUX of the Biennale Défilé. The parade’s of home areas Dansons ensemble [VAULX-EN-VELIN, RUMBANAMÁ THE RUMBA essential ingredients? Cultural mixing, FI le cinquième élément SAINTE FOY-LÈS-LYON, RUMBANAMÁ is a large orchestra formed relational intelligence, aesthetic tole- TARANTELLA [BRON] VILLEFRANCHE-SUR- specially for the 2016 Défilé, and illustrating rance, and a free and joyous human After the “Samba Tarantella” in 2014, get MOURAD MERZOUKI [OUEST RHODANIEN] SAÔNE] the main styles of rumba found worldwide dimension. Its essential subject? Bonding. dancing to the “Rumba Tarantella”. Once CENTRE FRED BENDONGUÉ AURÉLIE & MARTIN today. It has composed the original piece We will witness choral dances, new group CUVELIER the parade is over, join us on Place NAL CHORÉGRAPHIK CIE FRED BENDONGUÉ ¡A BAILAR! with a collective of musicians works, complementarities, pop-up archi- CIE VIREVOLT Bellecour to dance – with 15,000 people – a PÔLE PIK Communauté from Lyon, Perpignan and Barcelona, tecture, rhythms, and songs. For the first Ville de Bron d’agglomération Médiactif simple, accessible piece of choreography! inspired by Cuban, Congolese and gypsy time, we will welcome with open arms, Ensemble pour de l’Ouest Rhodanien Ensemble pour s’élever Dominique Hervieu and all the Défilé rumbas. This rich musical diversity has among the amateurs, an outstanding group un cours ouvert Ensemble, on brille ! choreographers have created the “Rumba yielded ¡A BAILAR!, the rumba we will dance of music-makers: the Orchestre National [VÉNISSIEUX] Tarantella” to offer you a festive dance “ensemble”! de Lyon, who could not resist the idea of [DRÔME-ARDÈCHE] [PAYS VIENNOIS & FARID AZZOUT experience that’s just made for sharing! adding their excellence to this “ensemble”! KARIM AMGHAR SA RIVE DROITE] LES 10CORPS - TRACTION AVANT CIE In 2016, culture is calling us to take action, CIE A’CORPS CIE CARLA FRISON Le petit théâtre AQUI ET LÀ Traction Avant Cie come together, and share joyfully! In a fes- Regards Croisés, MJC de Vienne Tout contre ! tive and upbeat way, Le Défilé will fuse the Ensemble pour une Ensemble pour aller beauty of diversity with the pleasure of 15 danse ! Ensemble guincher ! [VILLEURBANNE] dancing. contre les murs ! SEIFEDDINE MANAÏ [RILLIEUX-LA-PAPE, BROTHA FROM YOANN BOURGEOIS REPÈRES LE DÉFILÉ WEDS LE DÉFILÉ CREATES A COMMON PUBLIC [LYON] SATHONAY VILLAGE, ANOTHER MOTHA CCN DE GRENOBLE Yoann Bourgeois trained at the National TURIN AND LYON SPACE. ANAN ATOYAMA GRAND PARC MIRIBEL COMPANY & LES Centre for Circus Arts (CNAC) and at the & LES LYONNAIS JONAGE, DITZINGEN GRANDES PERSONNES FUGUE / TRAMPOLINE National Centre for Contemporary Dance This year, the Biennale continues its col- attach great importance to citizens CIE ATOU (ALLEMAGNE)] D’AUBERVILLIERS VARIATION NUMÉRO 4 (CNDC) in Angers. For four years he was laboration with the city of Turin and the being able to experience the Dance Centre Social Laënnec, JEAN-CLAUDE CARLES Les Ateliers Frappaz a performer with Maguy Marin’s company. TorinoDanza festival, by inviting to Lyon a - Centre National PREVIEW Biennale in different ways – in theatres MJC Laënnec-Mermoz, AIRCOMPAGNIE His first piece, Cavale, was a duet on a group of Turinese under the artistic direc- I Centre Socioculturel MJC ÔTotem des arts de la Rue, and in public space. During Le Défilé, Since being appointed artistic director trampoline with Mathurin Bolze. In 2014 tion of choreographer Roberto Zappalà / du Point du Jour, Ensemble pour Villeurbanne on Rue de la République and Place of the Lyon Dance Biennale, Dominique he created Celui qui tombe for the Lyon National Choreography Centre of Cata- MJC du Vieux Lyon faire avec ! Ensemble pour aller Bellecour, participants and spectators will Hervieu has Decided to offer the public, Dance Biennale, in which six artists attempt nia. The starting-point for the project, Ensemble pour une experience a ritual that brings to life a new création collaborative at the end of Le Défilé, a big new work to stay upright on a moving stage. Since called Il mio Défilé, is “the expression of bond between artists and population. Art (titre provisoire) of choreography by one of the finest January 2016, he has co-directed the Italianness” through a strong musical iden- in public space, for everyone, embodies contemporary artists. National Choreography Centre (CCN) of tity, namely the popular songs of Naples, our commitment to expanding culture’s After Mourad Merzouki in 2012 and Dada Grenoble with Rachid Ouramdane. or Canzone Napoletana. Various groups of footprint. This year, I have again asked a Masilo in 2014, it’s the turn of Yoann Bour- dancers, making distinctive artistic state- prominent artist of international repute to geois, a man of the circus who recently Production Centre chorégraphique national de ments, combine for Le Défilé. devise a show, for preview in Lyon, that became co-director of the National Grenoble – codirection Yoann Bourgeois et Rachid AT THE Ouramdane Coproduction Compagnie Yoann will surprise you by its original staging Choreography Centre (CCN) of Grenoble, Bourgeois, Biennale de la danse de Lyon 2016, on Place Bellecour, but also by its poetry to embark on the adventure. A few steps Théâtre de la Ville Paris, Maison de la Culture de and bold artistic ambition. The artist is rising skyward and man who falls, bounces Bourges, CAPI - Théâtre du Vellein Villefontaine, choreographer and circus artist Yoann and flies as if by magic, in search of the Archaos Pôle National des Arts du Cirque FONT Méditerranée, Donostia - San Sebastián (Espagne) Bourgeois, who jumped at the chance “suspension point”. Fugue / Trampoline - Capitale Européenne de la Culture 2016 to create an “off-the-scale” piece for CIE TRANSE different traditions, accompanied Variation numéro 4 is an aerial and deeply Yoann Bourgeois bénéficie du soutien de la 15,000 people, to complete this day of EXPRESS by a float pulsating to a medieval poetic show that leaves you seeing stars. Fondation BNP Paribas pour le développement de togetherness! beat, and four giant dolls in crinoline ses projets et est en résidence territoriale à la RHYTHMIC MADNESS dresses. Perched atop them, four CAPI - Théâtre du Vellein. Le Centre chorégraphique national de Grenoble DOMINIQUE HERVIEU Le Défilé’s opening group has dancers – by turns figureheads and est financé par le ministère de la Culture et de la Artistic director, Lyon Dance Biennale chosen to kick start the Ensemble! contemporary muses – set Le Défilé’s Communication / DRAC Auvergne-Rhône-Alpes, theme by creating a polyrhythm that tone. la Ville de Grenoble, le Département de l’Isère, combines tribal groove and contem- Direction artistique et chorégraphe la Région Auvergne-Rhône-Alpes, et reçoit le soutien de l’Institut français pour les tournées porary electro. Imagine a percussive Brigitte Burdin Direction musicale Rémi Allaigre Scénographie Gilles Rhode Production internationales. underlay created by drums from five Transe Express NATIONAL CONFERENCE IN ANTICIPATION...

Libération, the Métropole de Lyon, the faces and colours of a genre which Théâtre Gallo-Romain - CONFERENCE Grand Théâtre ENSEMBLE! Lyon Dance Biennale and Maison de la AUX NUITS DE FOURVIÈRE has crossed borders and eras. Born in 6 rue de l’Antiquaille, the 19th century in the land of African- ORGANISED MON 19 SEPT Danse are organising a national confe- RUMBA NIGHT Lyon 5 AT UNIVERSITÉ rence to examine this issue and explore Sun 3 July, 9pm Cuban rituals, rumba has flourished all WITH THE the functioning of our cultural institutions Théâtre Gallo-Romain / Grand Théâtre over the globe, reinventing itself along NEWSPAPER CATHOLIQUE DE LYON and their position in our society. Key the way. Rumba Night will tell that story, Direction artistique What new bonds can be forged between issues will be addressed, including social In 2016, a rumba trail from Cuba to the following a trail with a few unexpected Guy Bertrand En partenariat avec LIBÉRATION artists and the general public, so that diversity in theatre attendance, the role of Congo, by way of Catalonia, will wend detours (Hungary, China, India…) and a le Défilé de la Biennale culture can “make” society? artists, the stakes inherent to participa- its way towards the Défilé of the Lyon wealth of songs and rhythms carried by de la danse et le musée “The amateur artists, ages 4 to 92, invol- tory projects and art in the public space. Dance Biennale. Dominique Delorme, exceptional soloists such as Barcelona’s des Confluences ved in the Babel 8.3 project, danced with Designed by the editorial team at Libéra- director of the Nuits de Fourvière summer Parrita, Congolese Faya Tess, Perpignan’s Coproduction Athos Productions a level of tolerance and recognition of the tion, this event will focus on four themes events series, and Dominique Hervieu, Antoine “Tato” Garcia and Cuban Ludmila Production Les Nuits Mercerón. All backed by a brass and cultural and aesthetic identity of the other in debates featuring artists, sociologists, artistic director the Dance Biennale, de Fourvière that proves what can be achieved when policy makers, journalists, educators and in collaboration with the Musée des percussion orchestra with arrangements cultural, generational and social diversity researchers. It is open to all: people inte- Confluences, have devised a programme and direction by the Cubans Robin are not perceived as a problem, but rather rested in these ideas, professionals from centred on rumba. Highlights include Reyes Torres and Ernesto Burgos Osorio as the greatest potential of 21st-century the world of culture, cultural initiatives, Rumba Night at Fourvière on 3 July 2016. A (Santiago de Cuba). societies.” popular education, public education and musical voyage from Cuba, to the Congo During Rumba Night, Dominique Hervieu Andreas Schleicher city policy. and Catalonia, with Parrita, Faya Tess, will get everyone dancing the Rumba

Director of Education at the OECD Mon 19 Sept all day long | Université Catholique de Los Angelitos Negros, Antoine “Tato” Tarantella in the Grand Théâtre. You Lyon, 10 Place des Archives, Lyon 2 Garcia, and others. To prepare for the can start practicing now with friends, family or solo by learning the steps on Since the pioneering move by Guy Darmet A national conference co-organised by the Lyon festivities, Fourvière Theatre is hosting an to recognise hip hop at the Danse Ville Dance Biennale and Maison de la Danse. exclusive creation, exploring the multiple biennaledeladanse.com. Danse event (1992- 2001), followed by the In partnership with Libération. With the support of creation of the Biennale Défilé parade in the Métropole de Lyon. 17 1996, and the new Babel 8.3 programme, TICKETS AVAILABLE ON directed by Dominique Hervieu in 2015, WWW.NUITSDEFOURVIERE.COM/ PROGRAMME/NUIT-DE-LA-RUMBA Lyon has been at the forefront of the With the support of artistic experimentation that connects artists to the public. These participatory events have enabled thousands of people AROUND RUMBA NIGHT SAN SEBASTIÁN to experience new heights of personal expression, imagination and liberation. FREE FOR EVERYONE PUENTES DE TRANSITO Today, artists and cultural institutions RUMBA PICNIC Sun 3 July in San Sebastián (Spain) – bear new responsibilities to counter the The Biennale invites you to a workshop on European Capital of Culture 2016 In partnership with devastating consequences of insularity, rumba dancing. Bring your picnic, and the Lyon and the Dance Biennale are headed to sectarianism and populism. Artistic crea- Bar des Nuits is also open! San Sebastian, the 2016 European Capital tion is in fact an ideal means for overcoming Sun 3 July, 11am-1pm at Théâtre Gallo-Romain - of Culture, for a festive day on 3 July. rigid thinking and attitudes towards iden- Odéon [FREE] Lyon has been invited to San Sebastian tity. When people have appreciated other DANCE LECTURE/PERFORMANCE to transform one of the city’s bridges for ideas and perspectives through art, they Fred Bendongué, dancer and choreo- a day into a place of art, exchange and gain access to a durable, open and demo- grapher, will give a lecture with dance and culture. Dance – a major part of Lyon’s cratic value system. We will raise a central music videos on Congolese rumba. cultural identity – will be the honoured question today: can culture “make” society? Thu 15 Sept, 8.30pm at musée des Confluences guest. Participants include Groupe Acrobatique de Tanger, Compagnie Yoann INTRODUCTION TO RUMBA DANCING Bourgeois and Compagnie Propos / Denis Novices and experienced enthusiasts are Plassard. invited to come dance the rumba, just for dss2016.eu/fr the fun of it! Une co-organisation Maison de la Danse - 17e Biennale de la danse En partenariat avec Sat 17 Sept, 6pm at Centre Commercial La Part-Dieu, Only Lyon Avec le soutien de Orona, partenaire ground floor by the fountain de San Sebastián 2016 - orona.fr DANCE THE RUMBA TARANTELLA! SIGN-UP FROM 1 SEPT Join the Défilé’s 5,000 participants and WWW.LIBERATION.FR/EVENEMENTS [FREE ENTRY] 15,000 spectators in a Rumba Tarantella! Sun 18 Sept, late afternoon on Place Bellecour LYON Ballet de

BALLET DE L’OPÉRA DE LYON - l'Opéra de Lyon ALESSANDRO SCIARRONI & MARINA MASCARELL | P.19 GROUPE ACROBATIQUE DE TANGER | P.22 YAN DUYVENDAK | P.24 ISRAEL GALVÁN | P.26 DAVID WAHL | P.28 THIERRY MALANDAIN | P.30 PATRICE THIBAUD | P.32 COLLECTIF PETIT TRAVERS | P.34 ROY ASSAF | P.36 VINCENT DUPONT | P.38 YUVAL PICK | P.40 JEAN-CLAUDE GALLOTTA & OLIVIA RUIZ | P.42 CHRISTIAN RIZZO | P.45 BOUCHRA OUIZGUEN | P.48 OLIVIA GRANDVILLE | P.50 ©Andrea Macchia ©Andrea Folk-s Sciarroni, Alessandro RACHID OURAMDANE | P.52 19 DENIS PLASSARD | P.54 ALESSANDRO SCIARRONI movement. A regular guest at major OLIVIER DUBOIS | P.56 TURNING_MOTION international festivals, this time he will take KAORI ITO | P.58 the dancers of the Lyon Ballet de l’Opéra SICKNESS VERSION on a wild spin, in every sense of the word! DANIEL LINEHAN | P.60 NEW WORK 2016 WORLD PREMIERE In a very different register, the CECILIA BENGOLEA & FRANÇOIS CHAIGNAUD | P.62 choreographer Marina Mascarell danced CRISTIANA MORGANTI | P.64 MARINA MASCARELL for many years at Nederlands Dans Theater before creating her own shows. NEW WORK 2016 WORLD PREMIERE LOUISE LECAVALIER | P.66 She was recommended to the Lyon Ballet FABRIZIO FAVALE | P.68 The Spaniard Marina Mascarell and de l’Opéra by Jiri Kylian himself, who the Italian Alessandro Sciarroni believes she is one of today’s most gifted ALAIN PLATEL | P.70 are the new faces of dance today. choreographers. In the work of Marina JOSETTE BAÏZ | P.72 Trained in the visual arts and theatre, the Mascarell, formal mastery and artistic choreographer Alessandro Sciarroni loves sensitivity come together to make a EURIPIDES LASKARIDIS | P.74 to mix disciplines. His recent works were political and social statement. For this new JONAH BOKAER | P.76 inspired by surprising physical practices: piece for the Ballet de l’Opéra, she will Bavarian folk dances, juggling and handball focus on the recurring issue of feminism: AKRAM KHAN | P.78 played by blind people! He draws on this “We are witnessing the birth of a new wave CATHERINE GAUDET | P.80 material to create fascinating performances of feminism and dance should play a role in JAN FABRE | P.82 which play with rhythm and repetitive its emergence.” BATTLE OF STYLES | P.83 MARION LÉVY | P.84 LYON LYON

[QUESTIONS FOR ALESSANDRO [QUESTIONS FOR MARINA MASCARELL] BIOGRAPHY [MARINA MASCARELL] ALESSANDRO SCIARRONI SCIARRONI] Tell us about your project with the Marina Mascarell is a Spanish dancer and TURNING_MOTION Tell us about your project Turning Lyon Ballet de l’Opéra [ALESSANDRO SCIARRONI] choreographer. She studied various forms SICKNESS VERSION NEW WORK 2016 Turning is the name of a project that has I did a lot of research for this new Alessandro Sciarroni, an Italian artist of dance in Valencia, then went to Madrid [RUN TIME] 30MIN several versions which vary depending on production; I collected and viewed images trained in the visual arts and theatre, prac- to study dance pedagogy at Rey Juan APPROX. the place where it is performed and the of feminine figures and read up on the tices a choreography that is considered Carlos University, where she obtained a Chorégraphie artists involved in the show.* The original subject of feminism. I think there is a real close to performance art. His first piece, If Masters degree in Stage Arts. Her artis- Alessandro Sciarroni idea came from watching animal migra- need to speak about feminism today. I Was your Girlfriend (2007), toured widely tic work won her the 19th Choreographic Musique Yes Sœur ! tions. I went around Europe and Canada to During my research, I was attracted by the and, in 2010, he created Joseph, a piece Competition of Madrid, and prizes at the (Alexandre Bouvier observe the migration of wild geese, and work of Francesca Woodman, an American for a man and a computer that he also American Dance Festival and Movement et Grégoire Simon) Ettore Lombardi I went to British Columbia to observe the photographer who photographed women’s adapted for young audiences, in Joseph_ Research in New York. She created her Costumes Lumières migration of salmon. I noted the perma- bodies up close, especially breasts. Her Kids. first piece for that competition: Discove- Sébastien Lefèvre nency of their back-and-forth path and imagination and her story inspired me. In 2013, Alessandro Sciarroni benefited ring Secrets. Assistantes à then I started to think about the movement But it’s not about explaining feminism – in from the support of the European project She danced for the Nederlands Dans Thea- la chorégraphie of turning. fact I’m not trying to explain anything at “Modul-Dance” (a cooperative project with ter I and II in the Netherlands, and in the Marta Ciappina et Elena Giannotti What is specific about the project you all. What I want to do is experiment with 19 European dance centres). That same United States for the Cedar Lake Contem- are developing with the Lyon Ballet de tools like Francesca Woodman’s photos year, he was named best upcoming artist porary Ballet. She truly began her career MARINA MASCARELL l’Opéra? and other materials. I’m working closely by the Italian magazine Danza&Danza. He as a choreographer during the workshops NEW WORK 2016 There will be nine dancers in the piece. with the entire artistic team, the costume created FOLK-S for the Seine-Saint-Denis of the NDT. Her second work, The Eyes NEW WORK 2016 [RUN TIME] 30MIN The company’s dancers are all wonderful designer Daphna Munz, the lighting Rencontres choreographiques internatio- History, was inspired by Julio Cortázar’s APPROX. but I also wanted dancers with a natural designer Loes Schakenbos, the composer nales. In that piece, he explored folk dance Novel Los Premios. predisposition for this type of work. My Nick Wales, and my assistant James practices that are still very much alive. After a fine career dancing in works by Chorégraphie Marina Mascarell idea for the Ballet de l’Opéra is to expe- O’Hara. They are all equally important, and His most recent show, UNTITLED_I will be Jiří Kylián, Ohad Naharin and Sidi Larbi Musique Nick Wales 21 riment with pirouettes and other similar they are all deeply involved in the project. there when you die, is a choreographic Cherkaoui, she Decided to devote herself Décors Marina Mascarell classical motifs for turning and spinning, For me, it is essential to have a genuine and performative meditation on the passing exclusively to choreography in 2011. Since Costumes Daphna Munz and then I want to see what emerges from collaboration, where everyone is present of time, and a reflection on manipulating then she has created works for her own Lumières the mix of a meditative practice and clas- from start to finish. From there, it’s like in objects. The piece includes jugglers who company and for Nederlands Dans Thea- Loes Schakenbos Assistant à sical vocabulary. We find this practice in dreams: we don’t know how they will play perform to the point of exhaustion. It is ter I (UpComing Choreographers) and for la chorégraphie many cultures and forms. For example, the out in reality. G.V-P. part of a triptych that Alessandro Sciarroni the Geneva Junior Ballet. She is currently James O’Hara dervishes spin on only one leg, whereas I calls Will you still love me tomorrow? in in residency at the Korzo Theatre in the use both legs, and so it’s slightly different. which he considers the concepts of strug- Netherlands. Production Ballet de l’Opéra de Lyon Classical dancers also have their ways of gle, stability and resistance. Marina Mascarell speaks of the world in Directeur artistique turning and I want to see what they all In all of his pieces, he takes audiences into which we live, and our relationship to reality Yorgos Loukos have in common. unexpected and often hypnotic sensory is also very present in her work. She tells Directeur général What interests you in the act of turning? experiences, through choreographic stories through the language of the body de l’Opéra de Lyon To be honest, when I get an idea, I don’t performances that go beyond a spor- and strives above all to elicit emotions in Serge Dorny L’Opéra national de Lyon pay much attention to why the idea came ting feat. The third chapter of the project, the audience. In her creative process, she est conventionné par to me. There’s a kind of mystery innate to Aurora (2015) took a rare sport as its mate- considers the dancers as co-creators and le ministère de la Culture human beings, or just beings in general, rial: goalball, a game for blind and visually gives them great freedom. Like an Olive et de la Communication, that drives us to do things together. For impaired people. In this way, Alessandro Tree (created for Dance Forum Taipei) was la Ville de Lyon, le Conseil régional Auvergne-Rhône- me, turning is archetypal; it’s the movement Sciarroni creates dance that is hypersen- named the best performance in Taiwan in Alpes et la Métropole of planets, the movement of the Earth and sitive to rhythms, a dramaturgy based on 2010. In 2015, she won the BNG Bank Dance de Lyon. of cells. Everything turns, even when we the circulation of sounds, and production Award for best talent. are resting. based on strong images. OPÉRA DE LYON Wed 14, 8.30pm | Thu 15, 8.30pm | Fri 16, *Three versions have already been 8.30pm | Sat 17, 8.30pm | produced: TURNING_thank you for your Sun 18, 7pm love for the Venice Biennale; TURNING_ [PRICES] C migrant bodies, a solo performed by Full price Top price €32 Alessandro Sciarroni; and TURNING_ 2nd price €28 | 3rd price €22 PUBLIC PRESS CONFERENCE Symphony of sorrowful songs, a version Reduced price Alessandro Sciarroni and Marina Mascarell Top price €28 for the Rome Ballet, performed in a Tue. 13 11am Théâtre Nouvelle Génération – 2nd price €24 | 3rd price €18 museum. Les Ateliers Half price Top price €16 2nd price €14 | 3rd price €11 Groupe LYON LYON

ABDELIAZIDE SENHADJI, AIRELLE CAEN, Acrobatique BOUTAÏNA EL FEKKAK, SANAE EL KAMOUNI

Your new creation is titled Halka… PIECE FOR Coproduction Bonlieu [ON TOUR] BIOGRAPHY Can you explain this choice? 12 ACROBATS Scène nationale 28 Sept-16 Oct, Parc de The Groupe Acrobatique de Tanger was AND 2 MUSICIANS Annecy, L’Agora Pôle La Villette, Paris Following on from these earlier set up by Sanae El Kamouni in 2003 in de Tanger NEW WORK 2016 National des Arts du 24-26 Oct, Festival experiences, the Groupe Acrobatique [RUN TIME] 1HR Cirque de Boulazac- Circa, Auch order to assemble a troupe of traditional de Tanger wanted to contribute more to Aquitaine, CNCDC 12-13 Nov, Théâtre de Moroccan acrobats with a view to creating Création Collective / the creation of a show, but we needed Scène nationale Clamart a contemporary circus show. The group Groupe Acrobatique Châteauvallon, 17-18 Nov, Scènes du someone to help. It was Martine Tridde- de Tanger now tours worldwide. Archaos Pôle National Jura, Dole Mohammed Achraf Mazloum who suggested we contact des Arts du Cirque 22-23 Nov, Château In Morocco there is an age-old acrobatics Châaban, Mustapha Abdeliazide Senhadji. Who better than Méditerranée, Rouge, Annemasse discipline where artists always reproduce Aït Ouarakmane, him, with his work at Compagnie XY and Château Rouge 25-27 Nov Scène the same figures, with no creative latitude. Hammad Benjkiri, Scène conventionnée nationale d’Annecy his passion for transmitting his art, to Adel Châaban, El Kamouni shook up this tradition and Annemasse, Donostia 1-2 Dec, Pole cirque understand our approach and help us Abdelaziz El Haddad, injected fresh impetus. Having met Aurélien - San Sebastián Boulazac Lamiae El Alaoui, develop our own identity? It was during our (Espagne) Capitale 6-7 Dec, Le Prato, Lille Bory (Compagnie 111), they travelled Najib El Maïmouni first discussions with Abdeliazide that we Européenne 9-11 Dec, Le Phénix Morocco in search of acrobats, and Idrissi, Mhand Hamdan, de la Culture 2016 Scène nationale, settled on the title Halka, which is an Arabic Amal Hammich, met the Hammich family of acrobats in Le spectacle Halka Valencienne term meaning “circular festive show.” The Mohammed Hammich, Tangiers. This encounter yielded Taoub reçoit le soutien 16-18 Dec, Le Bateau Ouahib Hammich, artists in the show took inspiration from du ministère de la Feu Scène nationale, (2004), which toured for six years in more Samir Lâaroussi, the energy of the circle and festivity. The Culture et de la Dunkerque than 20 countries. Hamza Naceri, word refers to the origins of Moroccan Communication / DRAC 20-22 Dec, Les Halles The group cultivates a unique art, stemming Younes Yemlahi Ile-de-France. de Schaerbeek, acrobatics, one of whose characteristics Collaborations from the Amazigh tradition of Sidi Ahmed Ou Le Groupe Acrobatique Brussels (Belgium) is the use of circular movements. It also artistiques Moussa which dates from the 16th century. de Tanger est 4-6 Jan, La Coursive Abdeliazide Senhadji, refers to the festive environment in soutenu par la Scène nationale, La This discipline, which involves forming

Groupe Acrobatique de Tanger ©DR de Tanger Acrobatique Groupe Airelle Caen, which the acrobats show off their skills, Fondation BNP-Paribas, Rochelle human pyramids, has military roots; it was Boutaïna el Fekkak la Fondation BMCI, 11-15 Jan, Cirque used for the scaling of defensive walls; it 23 accompanied by music. In Halka, dance et Sanae el Kamouni la Fondation TMSA, Théâtre, Elbeuf and music are an integral part of the show. Collaborations also includes circular figures such as the le ministère de 18-19 Jan, Le Quartz, acrobatiques How is the creation coming along so far? la Culture et de Brest “Arab wheel”. This ancestral expertise is Abdeliazide Senhadji, HALKA their art. Because, to survive in Morocco, We are working without any stage set, la Communication 21-22 Jan, Festival Circo now being renewed as it cross-fertilises Nordine Allal NEW WORK 2016 WORLD PREMIERE acrobats have no choice but to perform for just with some objects and accessories, du Maroc. Nova Scène nationale, with Western choreography. The acrobats et Airelle Caen Autres partenaires Quimper After working with leading figures of tourists… Our goal was simple: to promote including “jefnas” which are the wash Collaboration en continued along their path, and in 2010 La Délégation 26-27 Jan, Le Volcan the circus arts, such as Aurélien Bory, the artists by giving them the means to basins Moroccan village woman use for acrobatie marocaine invited Martin Zimmermann and Dimitri de Provinciale de la Scène nationale, Le Mohammed Martin Zimmerman and Dimitri De Perrot, produce their own show and revitalise laundry. In the show, men and women use Culture à Tanger Havre Perrot (stage directors and circus artists) Hammich (le père) the Groupe acrobatique de Tanger Moroccan traditional acrobatics through them, bottom-up on the ground, as part (Maroc), l’Institut 31 Jan-1 Feb, CNCDC to create Chouf Ouchouf, a journey Création lumière français de Tanger Scène nationale, has returned to its roots in Moroccan modern creation. of a dance. It’s a rhythmic dance with Laure Andurand through a labyrinthine covered bazaar, (Maroc) Châteauvallon acrobatics. How did the group evolve from there? the feet, performed alone or as a group. Création musicale courtesy of an ingenious set design. 4-5 Feb, Théâtre du Xavier Collet Taoub, created in 2004, received The artists want to use this object as a Merlan, Marseille These top-flight artists settled in Toulouse Régie son Joël Abriac How did the Groupe Acrobatique de international acclaim, which allowed us to mobile element throughout the show. CÉLESTINS, THÉÂTRE 7-8 Feb, Festival Les in 2010. Aurélien Bory renewed their colla- Costumes Ayda Diouri Tanger get its start? reach out to artists from other countries. The metaphor of sand is also present. Until DE LYON Elancés, Istres boration in 2013, creating Azimut. In 2016, Production Association Wed 14, 8pm | Thu 15, 22 Feb, L’Archipel, It began with a group performing Moroc- We contacted Martin Zimmermann and just a few months ago, the Groupe acro- Halka (Paris - France) Abdeliazide Senhadji (Compagnie XY) is 8pm | Fri 16, 8pm | Scène nationale can traditional acrobatics. Acrobatics is Dimitri de Perrot who were interested in batique de Tanger practised on a dike by Coproduction teaming with the group to create their Sat 17, 8pm | Mon 19, Perpignan a treasure of Morocco’s cultural heritage developing the individualities of the group, a beach near Tangiers, a part of the port. Association Scènes latest work. 8pm | Tue 20, 8pm | 24-25 Feb, Théâtre de du Maroc (Tanger - but is little known abroad or even at home. whereas Aurélien Bory had focused more The construction of a marina eliminated the Wed 21, 8pm Moissac Maroc) We created the Groupe Acrobatique de on the group collectively. Chouf Ouchouf 30 Mar, Scène dike. The show will also evoke the question Coproduction et [PRICES] C nationale 61, Théâtre Tanger some 10 years ago to promote this confirmed our growing fame. After that, we of things which power and “progress” try résidence Biennale de Full price d’Alençon la danse de Lyon 2016, disappearing tradition by tying it in with worked again with Aurélien because we to erase. These are things we are trying Top price €32 1-2 Apr, Théâtre de CIRCa Pôle National des nd contemporary creation. I greatly admire felt there were more things we wanted to to preserve and celebrate in our stories. 2 price €28 Choisy Le Roi Arts du Cirque Auch rd the work of Aurélien Bory and we invited explore with him. That was how Azimut was There will be some new members of 3 price €22 6-7 Apr, Maison de la Gers Midi-Pyrénées, th 4 price €15 Culture d’Amiens him to lead workshops in Morocco. It was created, centred on the spiritual aspects Groupe acrobatique de Tanger, with Plateforme 2 Pôles Reduced price 11-12 Apr, Train Théâtre an excellent experience and that is when of Moroccan acrobatics. This in-depth and Abdeliazide Senhadji for the creation of Cirque en Normandie Top price €28 Porte les Valences Rouen I La Brèche nd we had the idea to create a show so that intimate work helped the group mature. the show. M.F. 2 price €24 14 Apr, Théâtre de Pôle National des rd our performers could make a living from 3 price €18 Oyonnax Arts du Cirque de th 4 price €11 9-10 May, Thumout Basse-Normandie / Half price (Belgium) Cherbourg-Octeville – Top price €16 PUBLIC PRESS CONFERENCE Cirque Théâtre d’Elbeuf 2nd price €14 Groupe Acrobatique de Tanger 3rd price €11 Tue 13 11am Théâtre Nouvelle Génération – 4th price €7.50 Les Ateliers Yan LYON LYON

Duyvendak& ANDREA CERA, OLIVIER DUBOIS, CHRISTOPHE FIAT, MICHAEL HELLAND

PIECE FOR 12 DANCER-SINGERS OF MUSICALS AND GUEST DANCERS OF THE LYON CNSMD BIOGRAPHY 2015 [RUN TIME] 1HR10 After training at the ECAL art and design Conception et direction artistique Yan Duyvendak school in Sion, Switzerland, and at the Assistant à la création Nicolas Cilins ZSAV visual arts school in Geneva, Yan Livret Christophe Fiat Traduction et adaptation Duyvendak has since 1995 worked as a anglaise Martin Striegel Chorégraphies de All Right performance artist and video artist. His Good Night, Staying Afloat, Chinese Are On Tour, Rain Dance Olivier Dubois Assistant chorégraphique prolific output has garnered many acco- d’Olivier Dubois / répétiteur Cyril Journet Autres lades, such as three successive Swiss Art chorégraphies Michael Helland Musique Andrea Awards (2002-2004). In 2010, he received Cera Répétition chant Sylvie Zahnd Scénographie the Prix Meret Oppenheim, one of the most Sylvie Kleiber Lumières Vincent Millet Costumes Nicolas Fleury Programmation Thomas Köppel prestigious awards in contemporary art. Avec des danseurs/euses - chanteurs/euses de His visual work is held by several public comédie musicale anglo-saxonne Thomas Bernier, and private collections, including that of Maria Einfeldt, Angelika Erlacher, Gabrielle Fallot, the Fine Arts Museum in Lyon. His perfor- Eveline Gorter, Jan Grossfeld, Katrin Immervoll, mances are hosted at many venues Sorina Kiefer, Sven Niemeyer, Maxime Rullier, Mario Saccoccio, Jeffrey Sebogodi Ainsi que worldwide, such as the Gangju Biennale des danseurs/euses invités du Conservatoire (South Korea), La Bâtie Festival in Geneva; national supérieur de musique et de danse de Lyon the Museo Reina Sofia in Madrid, but also Construction décors Atelier Théâtre de Vidy Régie in France at the Avignon Festival, the générale Ludovic Guglielmazzi Régie plateau Jean- Daniel Buri Régie lumière Mathieu Wilmart Régie son Ménagerie de Verre (Paris) and the Centre Ludovic Guglielmazzi, Aurélien Stuby Dramatique National in Montreuil. Production déléguée Dreams Come True Genève In his pieces, Duyvendak highlights the

Yan Duyvendak ©Pierre Planchenault ©Pierre Duyvendak Yan (Suisse) et Théâtre de Vidy-Lausanne (Suisse) screen that stands between Man and Coproduction La Bâtie-Festival de Genève (Suisse), reality in the form of televisual and mental 25 Théâtre Forum Meyrin (Suisse), Théâtre Nanterre- Amandiers Centre dramatique national, Festival images, social codes, and other rituals SOUND OF MUSIC ning at the Lyon CNSMD. Sound of Music is life, the Earth could die within a hundred Actoral Marseille, Pour-cent culturel Migros of the society of the spectacle. Topical A glitzy musical applies humour and a fiery and inventive show, sung in English, years. The response of officialdom (Suisse) Soutiens Spectacle lauréat du concours subjects in today’s world are creative Label + théâtre romand 2014 (Suisse), Prix FEDORA panache to the current crisis. and danced with flair. The singer-dancers appears insufficient. Swept up in the music sources for his theatre performances: - Van Cleef & Arpels pour le Ballet 2014 (lauréat), Borrowing the title of the famous and give a performance worthy of Broadway, by Andreas Cerra and the choreography Fondation Meyrinoise du Casino (Suisse), Fondation Made in Paradise 1 (2008) is built around emblematic Sound of Music, Yan Duyven- while painting a depressing portrait of of Olivier Dubois and Michael Helland, Ernst Göhner (Suisse), Stanley Thomas Johnson Islam, the West and capitalism; Please, dak has created a work inspired by current today’s world. the performers develop a communicative Foundation (Suisse), Ville de Genève (Suisse), Continue (Hamlet) (2011) features a crises. He began collecting articles and The jarring contradiction is precisely energy that tells a tale of catastrophe. République et canton de Genève (Suisse), Pro fictitious trial inspired by records of Helvetia - Fondation suisse pour la culture, CORODIS, official reports since the subprime crisis Yan Duyvendak’s aim: a certified disas- The world becomes a huge Titanic, whose trial proceedings at Guantánamo Bay. La Société de la Loterie de la Suisse Romande of 2008, analysing this contemporary ter, depicted in song and dance. Like the sinking has been announced, and yet we In his work, Yan Duyvendak confronts, disaster: irresponsible hedge funds, mass recurring refrain, “All right, good night,” ignore the warnings, continuing to have perplexes and unsettles spectators in their redundancies, eco-catastrophe, war, which might be interpreted as: “All is well, our fun, perhaps because we simply don’t THÉÂTRE DE LA CROIX-ROUSSE relationship with images and the media. Declining purchasing power, youth suicide the end is nigh.” But is this just a cynical know what else to do. Thu 15, 8pm | Fri 16, 6.30pm | Sat 17, 6.30pm rates, drastic cuts in public services… This posturing about life? Not so sure. It is more Sound of Music appears as a return - with [PRICES] C mediatised material has been worked into of a disillusioned observation that we have a twist - to the heyday of musicals, a genre Full price €32 the libretto commissioned for the piece. no control. The nonchalance and flippancy little seen in France, though very popular Reduced price €28 Half price €16 The texts by playwright and director Chris- of the performers seem to reflect the in the UK and US. Like the depression- tophe Fiat are quite a Novelty in the world of widespread heedlessness of our societies era Broadway shows produced to offer musicals! The show is carried by a vibrant and politicians in the face of imminent peril. a distraction, Yan Duyvandak’s Sound of [ON TOUR] cast of 12 professional dancers straight Some environmental studies predict that if Music pulls out the glitz to raise questions 24 Sept, La Filature, Mulhouse from Broadway and young dancers trai- we don’t significantly change our way of about the crises of our times. M.F. LYON LYON

SOLO MAISON DE LA DANSE 2014 [RUN TIME] 1HR15 Wed 14, 7.30pm | BIOGRAPHY Thu 15, 8.30pm | Fri 16, Interprétation For Israel Galván, dance is a family affair. 8.30pm et chorégraphie He is the son of José Galván and Eugenia Israel Galván [PRICES] B de los Reyes, celebrated exponents of Musiciens David Available in the Seville Flamenco. His sister Pastora is Lagos, Tomás de Maison de la Danse also a dancer and choreographer. In Israel Perrate, Eloisa Cantón, subscription Caracafé, Proyecto Full price 1994 he joined the Compañía Andaluza de Lorca (Juan Jiménez Top price €40 Danza headed by Mario Maya. Then, in Alba, Antonio Moreno) 2nd price €36 a watershed event, he met Manuel Soler Direction artistique Reduced price (dancer, musician, percussionist): they et chorégraphie de Top price €36 Sevillanas Pedro 2nd price €33 worked together on many pieces until G. Romero Mise en Demi-tarif Soler died in 2003. Galván scène et chorégraphie Top price €20 Having received many prestigious flamenco nd de Alegrías Patricia 2 price €18 awards as a performer, he founded his Caballero own company in 1998 and began to write Création lumières his own pieces. His first one, ¡Mira ! / Los Rubén Camacho [ON TOUR] th Son Pedro León 8-9 Sept, Lisbon Zapatos Rojos, was presented at the 10 Direction technique (Portugal) Seville Flamenco Biennale. Israel Galván Pablo Pujol 15-16 Oct, Aichi then began to revolutionise flamenco: Coordination des Triennale (Japan) his approach stripped this dance of its répétitions et régie 5-6 Nov, Rotterdam Balbi Parra Costumes (Netherlands) superfluous mannerisms and flourishes, Concha Rodríguez 8 Nov, Ludwigshafen thus shattering its classical grammar.

Israel Galván ©Hugo Gumie Galván Israel Production A Negro (Germany) He evolved towards flamenco in which Producciones 10 Nov, Karlsruhe gestural freedom is the rule, elevating it 27 Coproduction Théâtre (Germany) de la Ville Paris, Théâtre to its highest degree of expressiveness FLA.CO.MEN stretches the boundaries, challenging de Nîmes Scène and modernity. In Arena (2004) he Israel Galván is a true master of the 21st all that he has learned since childhood, conventionnée pour la danced bare-footed, stepping outside the danse contemporaine century, a flamboyant choreographer sending the traditionalists around him into boundaries of traditional flamenco. Avec le soutien de who revisits flamenco in a self-mocking a fit of incomprehension, especially in his Instituto Andaluz del Israel Galván composes theatrical dance way that takes audiences in unexpected early days. Flamenco (Espagne), that is able to take on heavyweight directions. In this work created for the Flamenco Bien- Consejería de subjects, as in Lo Real/Le Reel/The Real The fractured title, FLA.CO.MEN, gives an nale of Seville in 2014, he again pushes his Educación (Espagne), (2012), in which he addressed the Nazis’s Cultura y Deporte immediate idea of the dizzying show to art to the edge, breaking not only from genocide of Roma Gypsies. Galván’s body de la Junta de come. The striking thing about this Sevillian tradition but also from his earlier works Andalucía (Espagne), is a vibrant instrument which in 2014 he dancer-choreographer is his incredible and from a certain idea of flamenco and Fonds européen shared with Akram Khan, dancer of kathak freedom, and FLA.CO.MEN is further proof its established codes. He also breaks away de développement (a traditional dance of northern India), in régional (FEDER) of that. Though he adheres to a precise from his own image, tearing it apart as he Torobaka. He also writes choreographies Israel Galván est artiste rhythmic line, he delights in playing with does his relationship to the music. Surroun- associé du Théâtre for his sister Pastora Galvan: Dos hermanos his technique and himself as a dancer. He ded by an eclectic group with two singers de la Ville Paris, et du (2003) and La Francesa (2006). enters the stage wearing a white apron, of contrasting tonalities, David Lagos and Mercat de les Flors Israel Galván’s admirable dance was disco- ready to stir up the ingredients of a highly Tomas de Perrate, a surprising guitarist, Barcelona (Espagne) vered in France in 2001 at the Marseille Remerciements Teatro personal recipe: a savant mix of self-de- Caracafé, an amazing multi-instrumenta- Festival. The choreographer and dancer is Central Sevilla rision and virtuosity, fantasy and beauty. list, Eloisa Canton, and the two musicians (Espagne) currently an associate artist at the Théâtre His hands alone tell epic poems, with of Proyecto Lorca – sax player Juan Jime- de la Ville in Paris, and at the Mercat de les calligraphic curves and kinetic illusions. nez Alba and the playful percussionist Flors in Barcelona. In 2016, he was awar- Accompanied by four free-jazz musi- Antonio Moreno – the dancer-choreo- ded the Officier des Arts and des Lettres cians and two pure flamenco singers, grapher entertains a dialogue with each Decoration. Israel Galván transforms this dance into of them. His body breathes the dance with a joyous, inspired circus. He makes fun of every step, embracing its dissonances and himself and experiments with the music of missteps as well, in variations of rhythm flamenco. Coins, toast, leather - Galván and movement that defy reason, from the combines the most unexpected elements, tips of his fingers down to his heels. The as if he were trying to surprise even show is luminous and roguish, serious and himself and to reinvent his art. With perfect joyful - the self-portrait of a truly stunning mastery in every show, he takes that art artist. G.V-P. and shatters it. This unorthodox dancer LYON LYON

SOLO 2015 [RUN TIME] 1HR10 BIOGRAPHY David Wahl In parallel to his studies in Latin and Écrit et interprété par David Wahl History, David Wahl, born in 1978, entered Collaboration artistique the Conservatory of Dramatic Arts in Paris. Gaëlle Hausermann He worked at a number of theatres and Production Incipit began doing his own writing. Le Chant du Coproduction Le Quartz Scène nationale de Brest narcisse was published with Pampres by Avec le soutien de L’Onde Éditions Archimbaud in 2004. Théâtre-Centre d’art de From 2003 to 2007, David Wahl worked at Vélizy-Villacoublay Théâtre du Rond-Point and at Jean-Do- Les trois livres sont édités aux Éditions Archimbaud / minique Secondi’s agency Art Public Riveneuve : Histoire Contemporain for Nice’s 2013 bid as Euro- spirituelle de la danse / pean cultural capital, for which he designed La Visite curieuse et the exhibition L’esprit du baroque appliqué secrète / Traité de la boule à l’art contemporain. de cristal As of 2008, he concentrated solely on playwriting. He wrote for Julie Bérès MAISON DE LA DANSE, (Sous les Visages, 2008 - Notre besoin STUDIO de consolation, 2010 - Lendemain de Wed 14, 9pm | Thu 15, 7pm | fête, 2013) and also as a dramatist and Fri 16, 7pm performer for the choreographer Lucas [PRICE] Manganelli (Visage et Agrégat, 2012), for €14 David Wahl ©Philippe Savoir Wahl David Single price filmmaker Damien Odoul (Méfausti, 2011) and director Caterina Gozzi (Le Vertige 29

[ON TOUR] des animaux avant l’abattage, 2010). HISTOIRE SPIRITUELLE the finest choreographers are in Heaven 8-9 Nov, CNCDC de In 2008, Michel Crépu commissioned an and angels spend their time dancing. And Châteauvallon article on the subject of monsters. The DE LA DANSE that Louis XIV, the dancing king and foun- 15 and 29 Nov, L’Onyx, Saint- text, L’Évangile du monstre, became the Herblain As Xenophon once said, “Dance is not an der of the Royal Academy of Dance (in basis for his series of Causeries, star- 13-16 Dec, Le Quartz Scène easy subject for everyone to understand; 1661), invented ... “professional” dancers nationale de Brest Feb-Mar, ting in 2013 which he writes and performs it touches on the highest spheres of because he was tired of seeing nobility 10 shows, Maison de la himself: Traité de la boule de cristal (2014), science.” And yet David Wahl, author and ruin the work of his choreographers. Poésie, Paris La Visite curieuse et secrète (2014) and playwright, fellow traveller of the director In no particular chronological order, but Histoire spirituelle de la danse (2015). New Julie Bérès, has Decided to delve into the with plenty of humour, David Wahl tells an Causeries are already in the works, with subject with great gusto in his conference elaborate tale combining the incredible the same objective of tying together diffe- Histoire spirituelle de la danse. and the wonderful, the true and the silly. rent fields which are generally kept apart, Erudition and strange stories set the His far-ranging research has revealed such as theatre and science, research and scene for this investigation of the origins gems both from ancient tomes and the folk tales, knowledge and curiosity. of chorophobia - a fear of dance, an most recent scientific studies. He will hand David Wahl also organises workshops on affliction which emerged in the days of over these secrets – forgotten stories, writing, directing and staging for teena- the waltz, criticized for excessively agita- obscure philosophers, untold scientific gers and students of theatre. ting the body. He seeks to explain why, in discoveries, fun and fabulous facts – in the the West, people long mistrusted dance, intimate setting of a sleuth’s office, while accusing it of sinfulness, of preventing stirring our curiosity to find out more. the faithful from devoting themselves to Somewhere between a personal narrative spiritual activities and praying to God for and a highbrow conference, Histoire spiri- their salvation. The audience will also learn tuelle de la danse aims for the unexpected that the famous priest of Ars, in one of his and the poetic, by way of a multitude of many visions, saw precisely how the devil peregrinations and digressions. G.V-P. entered the body of dancers. And that LYON ÉCHIROLLES SAINT-ÉTIENNE LYON ÉCHIROLLES SAINT-ÉTIENNE

BALLET FOR Culture 2016, Orquesta AMPHITHÉÂTRE 22 DANCERS Sinfónica de Euskadi CITÉ INTERNATIONALE BIOGRAPHY NEW WORK 2016 (Espagne), Opéra Fri 16, 8.30pm Thierry Malandain danced with the Opéra [RUN TIME] 1HR15 de Reims, Opéra de Sat 17, 3pm and 8.30pm de Paris, then the Ballet du Rhin. His first Vichy, Teatro Mayor Sun 18, 3pm Chorégraphie Bogota (Colombie), experiences as a choreographer were Thierry Malandain [PRICES] A Thierry Fondazione Teatro with the Ballet Théâtre Français de Nancy. Musique Piotr Full price Comunale Città di In 1986 he left this company with eight Ilitch Tchaïkovski Top price €44 Vicenza (Italie), DANCE Décor et costumes 2nd price €40 dancers to create the Temps Présent OPEN International Jorge Gallardo 3rd price €26 Ballet Festival Saint- company. His positioning, apart from the Conception lumière Reduced price Pétersbourg (Russie), other French choreographers, enabled Francis Mannaert Top price €40 Teatros del Canal him to build a profile abroad, particularly Réalisation costumes 2nd price €36 Madrid (Espagne), Véronique Murat 3rd price €22 in Belgium. Malandain Fondation Équilibre Réalisation décor Half price Displaying great sensibility to their music, MALANDAIN BALLET BIARRITZ et Nuithonie Fribourg et accessoires Top price €22 (Suisse), Théâtre Thierry Malandain gave a contemporary Frédéric Vadé 2nd price €20 Olympia Arcachon appeal to classical ballets such as Carmen Réalisation masques 3rd price €13 Le Centre (1996) and Casse-Noisette (1997). In 1998, Annie Onchalo chorégraphique Maîtres de ballet he was appointed director of the Natio- national Malandain Richard Coudray, Ballet Biarritz est [ON TOUR] nal Choreography Centre (CNN) in Biarritz; Françoise Dubuc financé par le ministère 20-21 Sept, Échirolles based in former railway station the Gare Danseurs Ione Miren de la Culture et de 26-27 Sept, Saint- du Nord, this was the first classical-dance Aguirre, Raphaël la Communication / Étienne Canet, Mickaël Conte, CCN. He created ballets such as Roméo DRAC Aquitaine, la Ville 8 Oct, Fréjus Ellyce Daniele, Frederik et Juliette (2010) and Cendrillon (2013). de Biarritz, la Région 11 Oct, Narbonne Deberdt, Romain Di Aquitaine-Limousin- 15-17 Oct, Reims The choreographer likes to revisit famous

Thierry Malandain ©Olivier Houeix & Yocom Fazio, Baptiste Fisson, Poitou-Charentes, 19 Oct, Dole tales in a refined style, in which powerful Clara Forgues, le Conseil 21 Oct, Friedrichshafen virtuoso bodies articulate a neo-classical 31 Michaël Garcia, départemental des (Germany) Jacob Hernandez gestural language. Pyrénées Atlantiques. 26 Nov, Neuilly LA BELLE ET LA BÊTE Martin, Irma Hoffren, the revelation and his transformation. The Dans le cadre de 3 Dec, Le Creusot With an oeuvre now totalling more than Miyuki Kanei, Mathilde NEW WORK 2016 FRENCH PREMIERE rose, a symbol of acquired perfection and leur coopération 6-7 Dec, Alès 70 pieces, Thierry Malandain has ballets Labé, Hugo Layer, In this classical version of La Belle et la mystic rebirth, is naturally beauty itself. eurorégionale, 14 Dec, Arcachon in the repertoire of leading international Guillaume Lillo, Claire Malandain Ballet Biarritz 18 Dec, Ludwigsburg Bête, Thierry Malandain crafts the fairy The key is equally evocative of the secret Lonchampt, Nuria companies – Caracas (China), Teatro di et le Teatro Victoria 21-23 Dec, Biarritz tale into graceful and nimble dance. and of the method for gaining access to López Cortés, Arnaud San Carlo (Italy), Volksoper (Austria) – but Eugenia ont créé avec 31 Jan, Montaigu Mahouy, Ismael What could be more enthusing that knowledge and realisation. The horse les villes de Donostia 2-3 Feb, Saint Nazaire also in France: Ballet de l’Opéra Natio- Turel Yagüe, Patricia a choreographic variant of the über- depicts the course of time, and vitality. - San Sebastián et 5 Feb, Vichy nal du Rhin, Ballet National de Marseille, Velazquez, Laurine Viel, famous fairy tale Beauty and the Beast? The mirror, symbol of symbols, is hope: Biarritz un projet de 8-12 Feb, Fürth Ballet de l’Opéra National de Bordeaux, Daniel Vizcayo, Lucia coopération culturelle (Allemagne) Thierry Malandain, France’s most talented the passage into the other world and the You González Ballet du Capitole de Toulouse… Enjoying a dénommé « Ballet T » 28 Feb, Roubaix Avant-première neo-classical choreographer, has illusion of the vanities. Lastly, the glove initié par les fonds 2 Mar, Pordenone loyal following, he has become one of the avec l’Orchestre Decided to meet the challenge, and draws represents the hand of the creative artist, européens Interreg (Italy) greatest French choreographers. In 2009 Symphonique d’Euskadi inspiration not only from Jean Cocteau’s but also his oldest and most noble duty: to IV A. 4-5 Mar, Vicenza (Italy) he was awarded with the rank of Officier Versailles-Opéra À l’occasion de 7 Mar, Pavia (Italy) renowned eponymous film but also from entertain men worthily, while introducing Royal les 11, 12, 13 déc. des Arts et Lettres. certaines tournées 18 Mar, San Diego the original version by Jeanne-Marie them to beauty.” Taking these motifs as 2015 - Création / 1ère internationales, (USA) française à Lyon pour Leprince de Beaumont – who was herself his starting-point, the choreographer Malandain Ballet 20 Mar, Palm Desert la 17e Biennale de la inspired by the version of Gabrielle- weaves his web of gestures, all scrolls and Biarritz est soutenu par (USA) danse Production Suzanne de Villeneuve, published in arabesques, rushes and falls, ensembles l’Institut français. 25 Mar, Minneapolis CCN Malandain Remerciements pour (USA) 1740. This ballet enchants spectators and pas de deux. Through an ingenious Ballet Biarritz leur soutien | Mécène 28-29 Mar, Des Moines Coproduction Opéra with the delicacy of its motifs, the limpid fade-to-black system, we move between principal Repetto (USA) Royal Château de quality of its ensembles and the virtuoso tableaux as if turning the pages of a book, Grands Mécènes 6-8 Apr, Mexico Versailles Spectacles, talent of its performers. Malandain has while the gorgeous costumes pay subtly Banque Populaire (Mexico) Biennale de la danse Aquitaine Centre 14-15 Apr, Bogota chosen Tchaikovsky’s Sixth Symphony, the evocative homage to the poetry of Jean de Lyon 2016, Opéra de Atlantique, Société (Colombia) “Pathétique”, about which the composer Cocteau’s film. A burst of virtuoso dance Saint-Étienne, Ballet T Générale, Association - Teatro Victoria [REBOUND] wrote to a friend, “I can honestly say that by a 22-dancer company, this Belle et des Amis du Malandain Eugenia Donostia The Biennale across never in my life have I been so pleased la Bête, previewed last December at Ballet Biarritz - San Sebastián the Region with myself, so proud, or felt so fortunate Versailles with the Euskadi Symphony Mécènes Groupe Slavi, (Espagne) - CCN La Rampe, Échirolles Hôtel du Palais de to have created something as good as Orchestra, promises to be the latest “hit” Malandain Ballet Biarritz | Opéra Théâtre de Biarritz, Sofitel Miramar, Partenaires Donostia Saint-Étienne - Grand this”; and some extracts from his opera for the Malandain Ballet Biarritz. Working Aéroport Biarritz- PUBLIC PRESS CONFERENCE - San Sebastián Théâtre Massenet Eugene Onegin. For Thierry Malandain, between narrative dance and abstract Anglet-Bayonne, Fournil Thierry Malandain (Espagne) Capitale See p.6 “the creative power of the Beast, half-man ballet, Thierry Malandain prefers not to de la licorne, Bar du Thu. 15 11am Théâtre Nouvelle Génération – Européenne de la half-animal, at once handsome and ugly, choose, deploying both registers in a single Jardin, Burographic Les Ateliers stems from at least six elements: love, the élan – the élan of artistic inspiration and rose, the key, the horse, the mirror and the of love, beauty and enchantment. G.V-P. glove. Love, shall we say, is the agent of CALUIRE-ET-CUIRE BOURGOIN-JALLIEU PIERRE-BÉNITE VILLEFRANCHE-SUR-SAÔNE SAINT-PRIEST BOURG-EN-BRESSE COURNON CALUIRE-ET-CUIRE BOURGOIN-JALLIEU PIERRE-BÉNITE VILLEFRANCHE-SUR-SAÔNE SAINT-PRIEST BOURG-EN-BRESSE COURNON

PIECE FOR 1 DANCER, 1 ACTOR, 1 MUSICIAN 2015 [RUN TIME] 1HR10 BIOGRAPHY

Conception Patrice Thibaud Patrice Thibaud’s work is informed by his Mise en scène Patrice Thibaud, Jean-Marc Bihour satirising of French folklore, and is inspired Chorégraphie Fran Espinosa by comic masters: Fernandel, Tati and De Musique originale et guitare Cédric Diot Funès. Though an astonishing face-pulling Interprétation Patrice Thibaud, Fran Espinosa machine, Thibaud does not view himself as Danse et chant Fran Espinosa Création lumières Alain Paradis a mime. He prefers to leave that title to his Patrice Création costumes Nathalie Coutaud role models: Chaplin, Keaton, Laurel and Production Théâtre de Nîmes Scène conventionnée Hardy. He describes himself as an actor first danse contemporaine and foremost. Aged 20, he began collabo- Avec le soutien de la ville de Nîmes, le ministère de la Culture et de la Communication / DRAC rating with little-known companies, then in Languedoc-Roussillon-Midi-Pyrénées, le Conseil 1994 met Michèle Guigon, with whom he régional Languedoc-Roussillon-Midi-Pyrénées, acted in Duo, histoire d’amourire. In 1995, le Conseil départemental du Gard he joined Christian Schiaretti’s in-house Thibaud Spectacle accueilli en résidence au plateau danse company of actors at the National Centre du collège Condorcet à Nîmes. Remerciements Marie Duret-Pujoj / Société Calicot of Dramatic Art (CDN) of Reims, where for Productions five years he acted in plays as different as Ahmed philosophe by Alain Badiou and Corneille’s Polyeucte martyr. In 2001, he RADIANT – BELLEVUE, joined the quirky, extended theatre family CALUIRE-ET-CUIRE Fri 16, 8.30pm | Sat 17, 8.30pm | Sun 18, 4pm | Les Deschiens. For Les Deschiens’ Jérôme Mon 19, 8.30pm Deschamps and Macha Makeïeff, he acted

Patrice Thibaud ©Prisca Briquet in La Cour des grands, Les Étourdis, and MAISON DU PEUPLE, PIERRE-BÉNITE 33 Sat 24, 8.30pm L’Étoile de Chabrier. But the general public discovered him more widely in 2004 on THÉÂTRE THÉO ARGENCE, SAINT-PRIEST FRANITO trousers and shoes, withstanding the television, with his sketches in the 20h10 Sat 1st Oct, 8.30pm Following his amazing success at the onslaught of his partner. The two make pétantes show on Canal+ and then the previous Biennale, the inimitable Patrice quite a pair and have composed their [PRICES] C Michelle and Michel series on M6. He also Full price €32 Thibaud serves up a delightful duet with duet full of arcs and curves, the one appeared in the movies Agathe Cléry and Reduced price €28 Fran Espinosa: Franito. whirling about, and the other writhing Half price €16 Asterix at the Olympic Games. Franito, the fourth show by Patrice and self-flagellating. Nothing escapes the Patrice Thibaud returned to the theatre in Thibaud, is an absolute delight. The light-hearted mockery of Fran Espinosa 2008 with new pieces Cocorico and then self-taught comedian, formerly of the and Patrice Thibaud in their concoction [ON TOUR] Jungles (2011), at the Théâtre National de group Deschiens, transforms himself into of flamenco and burlesque, but their love 11 Oct, Théâtre de Compiègnes Chaillot. In 2012 he became an associate 18 Oct, Théâtre de Saint-Cloud the overbearing Spanish mother of a of the prestigious art of flamenco - listed 30-31 Oct, Festival Temporada Alta, Gérone (Spain) artist at Comète / Scène Nationale in flamenco prodigy. A few accessories in as a UNESCO Intangible Cultural Heritage 5 Nov, La Scène Watteau, Nogent-sur-Marne Châlons-en-Champagne, where he staged a small Andalusian kitchen, the beaded of Humanity - shines through. For Patrice 12 Nov, Le Carré, Saint-Maxime BOBINE DE SINGE and FAIR PLAY. Besides curtains, two chairs, a table, a broom Thibaud, his special relationship began at 14-17 Nov, CINARS, Montréal (Canada) his stage work, Thibaud has since 2009 29-30 Nov, Scène nationale de Bayonne and a folding screen set the scene, while the age of two when he saw his first show, devised a series of performances for the 2 Feb, Théâtre municipal d’Eysines the miming talent of Patrice Thibaud and and he later lived with a flamenco dancer. 3 Feb, Centre Culturel Les Carmes, Langon Musée du Louvre and the Musée du Quai Fran Espinosa’s dancing do the rest. It’s a His devastating humour illuminates this art 10 Feb, Théâtre d’Esch (Luxembourg) Branly. Since 2015 he has been an asso- festival of mimicry and facial expressions, he so admires and the art Fran Espinosa so 17 Feb, Espace Culturel Treulon, Bruges (Belgium) ciate artist at the Théâtre de Nîmes, where each more ridiculous than the next, perfectly masters. In the background, he 9-10 Mar, Théâtre du Parc, Andrézieux-Bouthéon he created Franito. 2 Apr, Maison des Arts et Loisirs, Laon and day-to-day situations imbued with conjures an improbable assembly of Pablo 23 May, Sémaphore, Cebazat burlesque and flamenco, naturally. Franito Picasso, Fernando Botero, Louis De Funes, 1 June, ACB scène nationale de Bar-le-Duc is like its creator: hilarious. Masquerading Benny Hill, El Guito and Concha Piquer, [REBOUND] as a heavy-breasted mama in her house not to mention Don Quixote. In a poignant The Biennale across the Region slippers, Thibaud’s heft is a counterpoint and poetic moment, Franito transforms Théâtre Jean-Vilar, Bourgoin-Jallieu | Théâtre to Franito’s lightness, though he/she his unwitting mother into the Cervantes de Villefranche | Théâtre de Bourg-en-Bresse | surprises us with unexpected moments hero, with a strainer for a helmet, a broom La Coloc’ de la culture, Cournon-d’Auvergne See p.6 of élan and we can’t help but succumb and a whip. The essence of the show is to her charm despite her Decidedly bad found in this single scene, both comic and temper. As for Franito, he spins and sings, emotional. G. V-P. in his turquoise socks and matching red DÉCINES ALBERTVILLE DÉCINES ALBERTVILLE Collectif

PIECE FOR 7 JUGGLERS AND 1 MUSICIAN BIOGRAPHY Petit Travers jugglers, which previously was very often NEW WORK 2016 [RUN TIME] 1HR APPROX. the case. In that piece, we wanted to Conception et chorégraphie Nicolas Mathis, This collective creates large-format show relationships with time and speed, Julien Clément juggling pieces. It comprises François and the graphic relationship between Travail collectif, interprètes Martin Barré, Julien Lebas, Céline Lapeyre and Denis Farget- the balls. So we began to juggle back to Clément, Rémi Darbois, Juliette Hulot, Nicolas Mathis, ton; and since 2011, Nicolas Mathis and Marie Papon, Clément Plantevin Musique Partition back, standing still, in such a way that the Julien Clément have been its artistic direc- originale de Pierre Pollet Conception, réalisation et juggler disappears as a person and that scénographie Olivier Filipucci et Thibault Thelleire tors. They are very open to other artistic the course of time is driven by the balls’ Création lumières Alix Veillon forms, and many collaborations have relative trajectories between each other. Production Collectif Petit Travers Coproduction enriched their work: Jérôme Thomas for Biennale de la danse de Lyon 2016, Le Manège We then introduced dummies to replace circus arts, Pierre Jodlowski and Sébastien Scène nationale de Reims, Plateforme 2 Pôles Cirque us, and these dummies served as a coun- en Normandie Rouen, La Brèche Pôle National des Daucé for music, Maguy Marin and Joseph terpart on the stage, meaning that there’s Arts du Cirque de Basse-Normandie / Cherbourg- Nadj for dance. This curiosity nourishes one character performing an action on Octeville, Cirque-Théâtre d’Elbeuf, L’Agora Pôle their artistic language with new kinds of stage, and another, like an intermediary, National des Arts du Cirque de Boulazac-Aquitaine expressiveness. en partenariat avec L’Odyssée à Périgueux, Le who serves as a counterpart of the action. The Collectif composes pieces in which DÔME Théâtre Scène conventionnée danse à Through experimenting with all these Albertville, Centre chorégraphique national de the art of juggling is put to precise musical possibilities, we realised that a charac- Rillieux-la-Pape, Scène nationale 61 Alençon, CIRCa scores. To tunes by Beethoven, the artists ter who is totally disembodied in this way Pôle National des Arts du Cirque Auch Gers Midi- were accompanied by a pianist in Pan-Pot Pyrénées, Théâtre du Vellein Scène conventionnée becomes a sort of graphic landscape. ou modérément chantant (2009), staged pour les arts du mouvement à Villefontaine, avec le Indeed, he is a landscape. What interested soutien du Groupe des 20 Auvergne-Rhône-Alpes at the Maison de la Danse in 2015. The us was to see how a person can exist as a Soutien, accueil en résidence Maison de la Danse trajectories of the balls are highlighted, self-willed individual, or simply as a mass, de Lyon, La Cascade Pôle National des Arts du while the jugglers melt away behind this

Collectif Petit Travers ©DR Travers Collectif Petit as a graphic relative. This depersonalisa- Cirque Bourg-Saint-Andéol, Théâtre de Cusset, Le singular graphic script. In Les Beaux Grand Angle Scène Rhône-Alpes Voiron, Le Théâtre tion can create abstract relationships that Orages qui nous étaient promis (2013), 35 Scène nationale d’Orléans expand the spectrum of presences that Le Collectif Petit Travers est soutenu par Le each ball toss incorporated the rhythmic DANS LES PLIS of this spectrum, another kiosk which, on we strive to develop in the company. And it ministère de la Culture et de la Communication / dimension of the music. Continuing their the contrary, would be an expressionistic can project the spectator’s attention into DRAC Auvergne-Rhône-Alpes au titre de l’aide à exploration of their art, Nuit (2015) enlisted la compagnie chorégraphique, le Conseil régional DU PAYSAGE game allowing one’s feelings and ways of very specific, chosen places. a magician to breath “life” into the balls, Rhône-Alpes, la Ville de Villeurbanne. NEW WORK 2016 WORLD PREMIERE doing things to overflow – especially when [JULIEN CLÉMENT] As a starting-point, we Ce projet fait l’objet d’une demande d’aide à and features a computer-steered ball. The Balls viewed as projectiles, but also as a caught up in situational games, in terms of had this belief that it’s possible to draw l’écriture pour les arts du cirque auprès de la artists have also tried their hand at perfor- driver of thought in motion. Concluding this singular expressiveness. The title also an analogy between juggling, and music Direction Générale de la Création Artistique. mance and dance in Ukiyo-e (2009) and a triptych that began with Pan-Pot stems from a desire to build many places and composing it – as if each juggler is a Le Collectif Petit Travers est une compagnie Femelle (2013). Their repertoire travels the associée au Manège, Scène nationale de Reims. ou modérément chantant about the into our scenic design, where characters participant in a little chamber orchestra, world: London, Berlin, Rome, Copenhagen, material of juggling, Dans les plis du can hide, vanish, reappear, and eclipse following his own voice, but where the Helsinki, Madrid, but also China, South paysage further explores our relationship whole or partial trajectories of the balls. dependency lies in what connects us. We LE TOBOGGAN, DÉCINES America, Israel… with objects, which powerfully reveal This construction is, in itself, a sort of play on the gap between eye and ear. Mon 19, 8.30pm | Tue 20, 8.30pm | Wed 21, 9.30pm Collectif Petit Travers is based in the something about the figures and the landscape on stage. Rhône-Alpes-Auvergne region. It was a [PRICES] D relationships between them. [JULIEN CLÉMENT] The room is already How would you define the juggling? Available in the Maison de la Danse subscription winner at the European Youth Circus festi- created – we clear the land in advance – [NICOLAS MATHIS] It’s stage juggling, Full price €25 | Reduced price €22 | Half price val in 2003; winner of the Jeunes Talents Why this title, “In the folds of the and the performers discover it. We wanted intended to build connections between €12.50 Cirques Europe competition in 2004; landscape”? to work on the layers of fabric; the idea various on-stage parameters, such as winner of a Société des Auteurs bursary [NICOLAS MATHIS] There are several of depth, transparency and opaqueness. presence, rhythm, time, and the visual in 2005; recipient of the Gold Medal at the [ON TOUR] explanations. I originally wanted to create And in the title there’s obviously a nod to aspect of the bodies. 6 Oct, Le DÔME Théâtre, Albertville Tournai festival, and of the Special Jury a third piece around what we call “the Henri Michaux’s book, La vie dans les plis Julien Clément: I would add the purely 21-22 Oct, Festival Circa, Auch Prize in Grugliasco, Italy, in 2008. landscape-individual” – that’s to say a (published in English as “Life in the Folds”). physical dimension of the feeling that 9-10 Nov, Théâtre du Veillein, Villefontaine spectrum of types of presence, ranging The piece deals with the life in the folds of energy is circulating in the body; flows of 14 Dec, L’Heure Bleue, Saint-Martin-d’Hères 12-13 Jan, Manège Scène nationale de Reims from a disembodiment of people to the the landscape… movements and, of course, rhythm, which 24-25 Jan, Train Théâtre, Portes-lès-Valence fact of seeing them in their bodies, their are two of the sensory ingredients of this 23 Mar, Flers Scène nationale d’Alençon singularity, their originality. On the one Can you explain the idea of the discipline. And also the possibility of buil- 25-26 Mar, La Brêche, Cherbourg hand, a “kiosk” or “terminal” that could be landscape-individual? ding space in very brief pieces of time, 10-11 May, L’Agora, Boulazac the character as an inert mass, a totally [NICOLAS MATHIS] When we created which is a distinctive feature of juggling… [REBOUND] PUBLIC PRESS CONFERENCE depersonalised graphic relay between Pan-Pot ou modérément chantant (2009), G.V-P. The Biennale across the Region Collectif Petit Travers Le DÔME Théâtre, Albertville, See p.6 trajectories of balls; and at the other end we worked on juggling and no longer on Mon. 19 11am Théâtre Nouvelle Génération – SHOW FEATURED IN FOCUS DANCE Les Ateliers VAULX-EN-VELIN SAINT-GENIS-LAVAL CORBAS VAULX-EN-VELIN SAINT-GENIS-LAVAL CORBAS

[SIX ANS APRÈS] DUET 2015 [RUN TIME] 25MIN BIOGRAPHY Roy Assaf, an Israeli dancer and Roy Assaf Chorégraphie Roy Assaf Danseurs Roy Assaf, choreographer, followed the Hadar Yonger-Harel Création choreographic teachings of Regba Gilboa, costumes Eri Nakamura who ran a group of dancers in Tel Aviv. Création lumières After meeting Emanuel Gat, he danced in Dani Fishof, Omer Sheizaf Musique orginale Deefly the United States in two of Gat’s pieces, Édition musicale et Winter Voyage and The Rite of Spring. arrangements Reut Yehudai Assaf was a virtuoso performer in Gat’s et Deefly Musique Moonlight company before becoming his assistant Sonata / Ludwig Van Beethoven (Piano - Wilhelm choreographer in 2006. Kempff), Dove Sei Amato In 2005 Roy Assaf wrote his first piece, the Bene / Georg Friedrich duet We Came for the Wings, in Tel Aviv. Haendel (Mezzo soprano - The following year he wrote K626, a ballet Marilyn Horne), Reflections for eight dancers, based on Mozart’s of My Life / The Marmalade Conseiller artistique Requiem. Besides his own creations, the Sahar Azimi dancer and choreographer revives pieces from Emanuel Gat’s repertoire. [LA COLLINE] PIECE FOR 3 DANCERS In 2010 Roy Assaf was appointed associate NEW WORK 2012 artist of the NDT dance company [RUN TIME] 25MIN (Netherlands), for which he created Rock.

Chorégraphie Roy Assaf The same year, he wrote the duet Six Years Roy Assaf ©Gadi Dagon Roy Danseurs Roy Assaf, Later; and then The Hill (2013), which won Igal Furman, Avshalom first place in the Hanover choreography 37 Latucha Création costumes competition. This award brought him to Doron Ashkenazi develop. The works presented this year at the complete grammar of choreographic the attention of the public and the art SIX ANS APRÈS Création lumières the Dance Biennale confirm his stature: Six virtuosity, inspired by the theme and the Dani Fishof, Omer Sheizaf world. He also wrote a piece for Benjamin & LA COLLINE Years Later (2011) and The Hill (2012), have music: Beethoven, Arvo Pärt… Music that Musique originale et Millepied’s Los Angeles Dance Project, A beautiful piece marrying virtuoso just earned Roy Assaf the top prize of the speaks to the soul, with a whole new édition Shlomi Bitton et which was programmed at the 2014 Lyon Reut Yehudai Musique dance, sensitivity and attention to the jury and audience at the most recent (Re) freshness. Dance Biennale. A rising figure of Israeli The Israeli Army March human condition. connaissance dance competition, which The Hill is a strikingly different piece: (The Israeli Army Band contemporary dance, Roy Assaf has true Born in Israel in 1982, Roy Assaf worked will offer him the opportunity to tour in a male trio, in a commentary on Israeli conducted by I.Graziani), creative vitality. with Emmanuel Gat as an assistant and France. The two pieces, of very different politics. The dance starts with three Giv’at HaTahmoshet / dancer from 2003 to 2010. Of particu- inspiration, demonstrate his incredible young men in colourful garb, dancing Yoram Taharlev, I Started a Joke / Bee Gees Conseiller lar note was their Winter Voyage, a virile kinaesthetic and musical awareness. to military music. The music is joyful and artistique Ronit Ziv and sensual duet which they took on tour Six Years Later is a duet for a man and a enthusiastic, like a carnival. The dancers around the world. Since 2005, Roy Assaf woman who find each other after a long move in unison, a light-hearted smile on Production Roy Assaf Dance has been choreographing his own pieces. separation. The fluid movements keep the their lips. The crafted and sculptural dance Avec le soutien de The Choreographers association He was invited two years ago by Benja- dancers in constant contact or proximity, continues in a second sequence, with (Israël), Curtain Up Festival min Millepied to create a work for the L.A. as they seem to rediscover a long-lost the music of Givat Hatahmoshet, a very (Israël), The Israeli Festival, Dance Project, in a programme presented intimacy. It is a love duet full of restraint, famous nationalist song commemorating Le ministère de la Culture at the Lyon Biennale. Next year, he will be alternating movements of great physi- the victory of the Israeli army over the d’Israël. invited to do a piece for Batsheva Dance cal energy with tiny gestures of affection Jordanians in the Six Day War of 1967. The Company. and love. In a string of daring contacts virtuoso contemporary dance language is C.C. CHARLIE CHAPLIN, These prestigious invitations reflect Roy and inventive lifts, mirrored movements, combined here with religious dances, as VAULX-EN-VELIN Assaf’s growing place in the internatio- pairs dancing or popular dance, the piece the piece reaches a climax to the tune Mon 19, 8.30pm nal choreographic scene. His expressive explores all the facets of a love affair. of I started a joke by the Bee Gees. The LA MOUCHE, THÉÂTRE dance style and supreme sensitivity make Potency, attentiveness and vulnerability exhausted bodies begin to falter and Roy DE SAINT-GENIS-LAVAL him a much sought-after dancer for top are all wrapped into the heart of a work Assaf casts a light on the absolute vanity Wed 21, 8.30pm choreographers and his personal choreo- seeking unison and harmony, a balance of a combat to which youth has been LE POLARIS, CORBAS graphic language will no doubt continue to and suspension. Roy Assaf plays with sacrificed. M.F. Fri 23, 8.30pm

[PRICES] E Full price €20 Reduced price €17 Half price €10 LYON LYON Vincent

DUET 2014 [RUN TIME] 45MIN BIOGRAPHY

Conception du projet Vincent Dupont An actor by training, Vincent Dupont came Danse Ariane Guitton, Aline Landreau Musique, son to dance thanks to the choreographers Maxime Fabre Lumière Arnaud Lavisse Dispositif Thierry Thieû Niang and Georges Appaix, Dupont scénique Vincent Dupont, collaboration avec Sylvain and then performed for Boris Charmatz Giraudeau, Marc Chevillon Costumes Morgane in Herses and Con forts fleuve. With his Dufour, Éric Martin Travail de la voix Valérie Joly Production J’y pense souvent (…) Coproduction first piece, Jachères improvisations (2001), Centre chorégraphique national de Rillieux-la-Pape inspired by one of Stan Douglas’s visual- pour Bamboo réseau européen, Théâtre de Nîmes art installations, he made his name as a Scène conventionnée pour la danse contemporaine, choreographer. Théâtre de la Ville Paris, Espaces Pluriels Scène conventionnée danse-théâtre Pau, Le Vivat Scène His pieces blend various arts and turn conventionnée danse et théâtre Armentières, Le spectators’ perceptions upside-down. The Carré-Les Colonnes Scène conventionnée Saint solo Hauts Cris (miniature) (2005) revealed Médard-en-Jalles / Blanquefort Vincent Dupont shut in a miniature apart- Avec l’aide d’Arcadi Île-de-France / Dispositif ment, playing on scale and amplified-sound d’accompagnements. Stéréoscopia bénéficie de septembre 2015 à août effects to disorientate the audience. In 2017 du soutien de la Charte d’aide à la diffusion 2014 he created Air, in which the audience signée par l’Onda, Arcadi Île-de-France, Culture is placed between two dancers and a O Centre, l’OARA, l’ODIA Normandie, Réseau en quartet of singers, in the dialogue’s stead. scène - Languedoc-Roussillon et Spectacle Vivant en Bretagne. In 2009 he directed the film Plongée, which J’y pense souvent (…) est soutenue par le ministère is akin to a choreography of imagery de la Culture et de la Communication / DRAC and landscape. Dupont’s fascination with

Vincent Dupont ©Marc Domage Vincent Dupont ©Marc Île-de-France au titre de l’aide à la compagnie luminous atmospheres and the visual- conventionnée. art aesthetic that characterises him was 39 evident in Bine (2011), where a dancer

STÉRÉOSCOPIA The spectators are given a stereo sound THÉÂTRE NOUVELLE GÉNÉRATION – TNG placed “under glass” moved, like an object It’s disturbing, exciting and funny. device that connects them to the breathing Tue 20, 7pm | Thu 22, 10am et 2.30pm [school] | behind a display cabinet. Stéréoscopia invites (young) audiences of the performers. They find themselves Fri 23, 7pm | Sat 24, 3pm et 7pm Vincent Dupont’s oeuvre is at the inter- to an immersive and totally abstract plunged into a dark room that throws [PRICES] section of theatre, dance, performance experience. them off bearing, while undefined yet Adult €17 | Child €11 and visual-art installations. It is rooted in As always with Vincent Dupont, it is a evocative sounds complete the troubling School €6 [ages 7 > 15] an exploration about the memorisation of plunge into a world at the frontier of dance, atmosphere. Two identical figures emerge images. His pieces recreate a space for theatre, performance art and plastic arts, from the dark, making identical movements feeling, reconfigure the senses, and bring [ON TOUR] a world of new and changing sensations. and then start deviating imperceptibly. 2-3 Feb, Théâtre Louis Aragon, Tremblay-en-France modes of perception back into play. In After a start in acting, Vincent Dupont As if on a cinema screen, they carry the 11-12 May., Espace Germinal, Scènes de l’Est 2007, French performing-rights body SACD turned to dance and has always explored imagination, in the form of floating bubbles, Valdoisien, Fosses gave him the new choreographic talent the interconnections between different flower-women or mutant creatures. SHOW FEATURED IN FOCUS DANCE award. He has been an associate artist at arts, questioning the notion of the image This horizontal ballet reverses the left- the National Choreography Centre (CCN) and the speed of perception. Every show right perspective and creates confusion, of Montpellier since 2015. is a unique experience. threatening at any moment to reverse In Stéréoscopia, he pays tribute to the the frame. “It isn’t a narration, rather an 16th-century Florentine painter Jacopo experience where light and objects speak Chimenti who anticipated stereoscopy, of our changing emotions and where or what we now call 3D, by making two sounds create a rift between what we see drawings of the same subject viewed by and what we hear. This opens a space for one eye then the other. Vincent Dupont listening to one’s own sensations,” says shifts not only the images but also the the choreographer. That is the power of colours and sounds. He looks into the Stéréoscopia, to take us into ourselves. breach to find a new perception, in an But there is always a touch of humour, exploration of the relationship between as offbeat as Jacopo Chimenti’s images. attraction and repulsion, desire and A radical work, Stéréoscopia brilliantly anxiety of loss, between one’s body and combines intelligence and poetry. G.V-P. that of another. LYON LYON

CCNR BIOGRAPHY Yuval Pick In Are friends electric?, we find the choreographer’s long-time questioning unison and the notion of communality. In a polarised contemporary space, marked by individualism and an exacerbated sense of competition, how to be together becomes a permanent quest. Appointed director of the National Choreo- graphy Centre (CCN) of Rillieux-la-Pape in August 2011, Yuval Pick has a long career behind him as a performer, educator and choreographer. Trained at the Bat-Dor Dance School in Tel Aviv, he joined the Batsheva Dance Company in 1991 before leaving in 1995 to begin an international career with artists such as Tero Saarinen, Carolyn Carlson and Russell Maliphant. He joined the Ballet de l’Opéra Natio- nal de Lyon in 1999 before establishing his own company, The Guests, in 2002. He has since created pieces noteworthy

Yuval Pick ©Sebastien Erome Yuval for their complex notation of movement, accompanied by strong collaborations 41 with composers, in which dance offers an ARE FRIENDS PIECE FOR 6 DANCERS and mechanised environment. 2015 [RUN TIME] 1HR equilibrium between individual and group ELECTRIC? Digging into the “black box” of Kraftwerk, that is constantly called in question, as Chorégraphie Yuval Pick Schubert meets Kraftwerk in this sensual Yuval Pick found intriguing elements he in Popular Music (2005), Strand Behind Danseurs Fernando Carrión Caballero, and organic exploration of torsion. Decided to use, among them a refe- Julie Charbonnier, Madoka Kobayashi, Jérémy (2006), 17 drops (2008), Score (2010), No Are friends electric? brings together four rence to Franz Schubert in Trans Europe Martinez, Adrien Martins, Alexander Standard play hero and Folks (2012); and, in 2014, the men and two women on stage, most of Express. This discovery led him to explore Musique Kraftwerk, Franz Schubert, Olivier Renouf duet Loom and Ply for five dancers. “I am Conseil scénographique Bénédicte Jolys Création them the new permanent dancers of the Schubert’s many lieder to identify the convinced that important works can only costumes Frederick Denis Création lumières national choreographic centre (CCN) of original elements of romanticism. With the Nicolas Boudier Réalisation sonore Olivier Renouf stem from a strong bond between their Rillieux-la-Pape to answer that question. music reaching deep into our memory, Assistante chorégraphique Sharon Eskenazi conceiver and the people tasked with This new work by Yuval Pick, the CCN’s Yuval Pick then turns his choreographic Production Centre chorégraphique national giving substance to the dance. This art of director, is that of a masterful and fully focus to the body. The central movement de Rillieux-la-Pape the instant and of embodiment is intimately Le Centre chorégraphique national de Rillieux-la- accomplished choreographer. Taking of the composition is torsion. For Yuval Pape, direction Yuval Pick, est subventionné par linked to its sensory media, the performers. inspiration from an emblematic group of Pick, “it is an organic and essential action le ministère de la Culture et de la Communication / Consequently, the idea of a choreographic its era – Kraftwerk – Yuval Pick uses their that reaches to the marrow, the bones DRAC Auvergne-Rhône-Alpes, la Région Auvergne- auteur and of a performer are two sides matrix to create one of his most organic and inner memory of the body” of dancers. Rhône-Alpes, la Ville de Rillieux-la-Pape et of the same coin, and, although it might la Métropole de Lyon and inspired pieces. Madoka Kobayashi, the only dancer remai- seem self-evident, I feel it’s important to Remerciements Michel Raskine, Emmanuel Robin The choreographer chose this well-known ning from the first CCN team, once again state this as one of my core principles. My music to stimulate our collective memory, imposes her powerful presence and approach to dance tends towards setting delving into Kraftwerk’s music and universe dancing, alongside the five other dancers LES SUBSISTANCES - HANGAR juxtaposed identities to movement, like an from 1974 to 1981, a period noted for fully immersed in Yuval Pick’s artistic vision. Tue 20, 8.30pm | Wed 21, 8.30pm assemblage of layers of sensations and

Autobahn, Radio-Activity, Trans Europe The rhythm of Kraftwerk’s music served [PRICES] D emotions. I’m fascinated by the group’s Express and Computer World. These as a springboard for the choreographic Full price €25 | Reduced price €22 | ability to transform space by organically albums feature an essentially analogue material. The sound loops, their cyclical Half price €12.50 adding identities. I work on the interaction sound, with rhythms like the beating of a composition and variations in amplitude between bodies, with the idea that each heart, breathing, walking, a state of trance: help reveal the deep intention of the mate- of them explores the world and its own [ON TOUR] a musical matrix on a human scale. Accor- rial. Working from there, Yuval Pick included essence, by combining with others. There 13 Oct, House of Culture, Plovdiv (Bulgaria) ding to Yuval Pick, this music heralded “the his research on spatial trajectories in 19 Oct, Les Treize Arches, Scène conventionnée de is a fundamental answer about yourself invention of a new European romanticism traditional European dances, such as the Brive that can be found in confronting otherness, reinterpreting the relationship between minuet, which is a codified dance for two, 19 Jan, Grand Théâtre, Opéra de Dijon and it is this existential approach that 22 Mar, Centre Culturels Municipaux, Scène man and his environment.” The ideal of the in a play of approaches and separations. drives my dance.” (Yuval Pick) conventionnée pour la danse, Limoges 20th century, endorsing a closer connec- With these elements, the piece creates tion with nature, has been replaced here frictions that give rise to a complex and by the sad conclusion that survival mode is polarised space, structured by tensions. the only option left to man in our urbanised M.F. LYON LYON

Jean-Claude GallottaGROUPE ÉMILE DUBOIS

& Olivia Ruiz [QUESTIONS FOR OLIVIA RUIZ] it’s a subject that I think is important today What made you want to launch into this and which touches me personally. And I project? know this story by heart because I come The experience we had together for from an immigrant family. I know about the L’Amour sorcier. I gave him my four albums continual quest for legitimacy, the sadness when we were working on that project. He of being uprooted. My character is a bit listened to them and told me he wanted to the story of my grandfather and both my do choreographies for 13 of the songs. He grandmothers. I contributed some ideas said he wanted to tell a story and make a and then we adapted them. Anyone can musical together. I hugely enjoyed dancing have a good idea, but real talent requires his work for L’Amour sorcier and so I bringing it to the stage. I have learned a lot accepted the offer. from Jean-Claude Gallotta; he is an incre- How did you get started? dible man. For me, it’s like learning musical With a lot of sweat. It wasn’t easy at all. arrangements with Leonard Bernstein. I now understand why we see so few What is your relationship to dance? musicals in France – it’s because it’s very Like many “turbulent” children, I was complicated to sing and dance at the enrolled in a dance class when I was five same time. Your brain has to split between years old and I did contemporary and the work of singing and dancing and get modern-jazz dance until I was 15. The it all synchronised. But it was a fabulous funny thing in this story with Jean-Claude challenge. In my shows, there is always Gallotta is that, at the end of my latest some dancing, but this is one hour and 40 tour, I told my producer that I wanted to go

Jean-Claude Gallotta & Olivia Ruiz ©Jean-Louis Fernandez Jean-Claude Gallotta minutes of non-stop singing and dancing, back to more physical work and renew my plus I have to act because I’m the narrator connection with dance. I’m a great admirer 43 and main character. of choreographers and I go to see many How do you work with Jean-Claude contemporary dance shows. I have always VOLVER [QUESTIONS FOR JEAN-CLAUDE The musical parts will be interspersed with Gallotta? worked with my body because, like in NEW WORK 2016 WORLD PREMIERE GALLOTTA] monologues, like a voice-over, in a sort of He came up with some ideas with his dance, it is a tool for singing. I have a rather Jean-Claude Gallotta, the facetious Can you explain the title? flashback in which she tells what happe- dramatist, Claude-Henri Buffard, about American or Londoner view of my work: choreographer, and Olivia Ruiz, the It’s one of Olivia Ruiz’s songs. We thought ned to her. a young woman who falls in love with with dramaturgy, and a character. I have sparkling singer, reach new heights it fit the subject well because Volver means Why choose the musical genre? someone she shouldn’t, and I steered the always thought of my concerts as shows, together in Volver. Between a musical and “come back” in Spanish. In fact, it’s not really a musical; it’s Olivia plot toward a story of immigration. Because and I never stay in one place. G.V-P. a singing choreography… How did you meet Olivia Ruiz? with dancers around her. I started to Jean-Claude Gallotta met singer Olivia Ruiz We met for a different project, L’Amour imagine dances that fit with her songs, a for L’Amour sorcier in 2013. Their artistic Sorcier, an adaptation of the ballet-panto- very mobile choreography, where song collaboration has grown since then into a mime by Manuel De Falla that I co-created and dance express her energy and tempe- shared idea for a musical: Volver. The story with Marc Minkowski and Jacques Osinski rament. The original idea was pretty much follows a young singer, her rise to fame in 2013. We wanted to work together again the same as what we started developing and her fall. When Jean-Claude Gallotta’s in a similar way, but with a shared, more with Alain Bashung for L’homme à tête de dance blends with the musical world of rock & roll energy. We wanted to develop chou, with a storyteller, but this time it’s a Olivia Ruiz, the result is a galloping mix of an idea and write something between an woman and there is movement since Olivia mischievous and catchy rhythms, a harmo- autobiography and fiction. With Claude- also dances. Though her technique isn’t nious complicity, an explosive combo for Henri Buffard (the choreographer’s perfect, she has the intuition and energy nine dancers, five musicians and a singer. dramatist since 1998), we came up with the of a dancer. adventure of a young singer of Spanish How will you develop the choreography? origins who goes to the big city (Paris). I want to give body to the songs through How did you develop the story? the nine dancers, without falling into the First, we chose songs that fit the story. trap of illustration. I take the rhythm as the SEE CORPS REBELLES EXHIBIT We are following the lines of the Tom foundation and then I compose, in chords SACRE DU PRINTEMPS BY JEAN- Thumb tale, using songs to tell his story. and counterpoint. CLAUDE GALLOTTA P.10 LYON LYON CLERMONT-FERRAND Christian ICI – CCN MONTPELLIER

BIOGRAPHYS [OLIVIA RUIZ] PIECE FOR 1 SINGER, HER MUSICIANS AND 9 DANCERS Rizzo By the age of 15, Olivia Ruiz was already [JEAN-CLAUDE GALLOTTA] interested in a musical career. In 2001, she NEW WORK 2016 [RUN TIME] 1HR10 APPROX. After his studies in Fine Arts, Jean-Claude did a duet with her father, singing French Gallotta spent time in New York in the late and Spanish songs. After participating in a Conception Jean-Claude Gallotta, Olivia Ruiz Chorégraphie Jean-Claude Gallotta 1970s, where he discovered postmodern musical show on television, she launched Assisté de Mathilde Altaraz Texte Claude-Henri dance. When he returned to France, her first album, Je n’aime pas l’amour. Buffard, Olivia Ruiz Dramaturgie Claude-Henri Buffard he founded the Groupe Émile Dubois Her second album was noted for J’traîne Avec Olivia Ruiz (chant et danse), ses musiciens in Grenoble, which became a National des pieds and La femme chocolat, which et 9 danseurs Choreographic Centre in 1984. He was reached one million sales. Christian Olivier Production Groupe Émile Dubois / Cie Jean-Claude Gallotta Coproduction Biennale de la danse de director there until 2015. A great and of Têtes Raides, Christophe Mali of Tryo, Lyon 2016, Théâtre National de Chaillot Paris, tireless choreographer, he has created Mathias Malzieu of Dionysos, Ben Ricour, Centre chorégraphique national de Grenoble, more than 60 works. Néry, Chet and Juliette have written some MA≈Scène nationale – Pays de Montbéliard (en As a leading figure in French dance in of her songs. In 2009, she released her cours) Avec le soutien de Asterios Spectacles et la MC2: Grenoble the 1980s, he developed a singular style, third album, Miss Météores, for which she Le Groupe Émile Dubois / Compagnie Jean-Claude giving great importance to the music. He wrote the lyrics and composed the music Gallotta est soutenu par le ministère de la Culture confronted rock with contemporary dance with Mathias Malzieu. Her fourth album Le et de la Communication-DGCA, la DRAC Auvergne- in My rock in 2004, and created L’Homme calme et la tempête was released in 2012. Rhône-Alpes et la Région Auvergne-Rhône-Alpes. à tête de chou, based on the album by In 2010, Olivia Ruiz acted in the film Un jour Il est en cours de conventionnement avec la Ville de Grenoble et le Département de l’Isère. Serge Gainsbourg, in a version with Alain mon père viendra, by Martin Valente. In Bashung in 2009. 2013, she played Candelas (the gypsy in

He is attentive to building a repertory, L’Amour sorcier, a ballet pantomime by MAISON DE LA DANSE and alternates creation and re-creation. Manuel de Falla, with choreography by Wed 21, 7.30pm | Thu 22, 8.30pm | Fri 23, 8.30pm | Christian Rizzo ©Christian He likes to confront choreographies with Jean-Claude Gallotta), combining dance, Sam 24, 8.30pm 45 time, revisiting for example Yvan Vaffan in theatre and song. [PRICES] A 2013 (originally from 1984). In 2012, Lyon’s Available in the Maison de la Danse subscription LE SYNDROME IAN Maison de la Danse did a special focus Full price Top price €44 | 2nd price €40 NEW WORK 2016 Reduced price Top price €40 | 2nd price €36 on his work so that audiences could (re) le syndrome ian is the third part of a Half price Top price €22 | 2nd price €20 discover several of his pieces: Le sacre du trilogy by Christian Rizzo on the theme of printemps, I-Tumulte, II-Pour Igor, Daphnis what we call popular dances. é Chloé, Racheter la mort des gestes. [ON TOUR] Following the international success of Jean-Claude Gallotta has also created 6-21 Oct, Théâtre national de Chaillot, Paris d’après une histoire vraie, and his work pieces for other companies such as 3-4 Mar, MC2: Grenoble on couples dancing in ad noctum, the 14 Mar, Théâtre Équilibre, Fribourg (Switzerland) Ballet de l’Opéra de Lyon (La solitude du director of the Montpellier CCN now 18 Mar, Théâtre de l’Olivier, Istres danseur) and Ballet de l’Opéra de Paris 19 Mar, Palais des Festivals, Cannes turns to a form he knows through his own (Nosferatu). The Japanese theatre director 24 Mar, MA - Scène nationale, Montbéliard experience: nightclub dances. In this new Tadashi Suzuki invited him to Shizuoka to 28 Mar, Le Volcan, Le Havre work, Christian Rizzo examines his own work from 1997 to 2000 with the Japanese 19 Apr, Théâtre Roger Barat, Herblay history and questions the fundaments of 28 Apr, Salle Zinga Zanga, Béziers company SPAC Dance, where he presented choreography. The cross between disco Prémonitions and reworked Mammame. and post-punk, between the bass line of In 2013, he worked for the first time with Joy Division and that of Giorgio Moroder Olivia Ruiz whom he directed in L’Amour shapes his reflection on dialogue as an sorcier by Manuel de Falla. The two artists intrinsic value. Dialogue between the are together again for the musical Volver. curves of disco and the angles of post- punk, a conversation between stage dance and clubbing.

PUBLIC PRESS CONFERENCE Jean-Claude Gallotta Mon. 19 11am Théâtre Nouvelle Génération – Les Ateliers LYON CLERMONT-FERRAND LYON CLERMONT-FERRAND

PIECE FOR 9 DANCERS What gave you the idea for this new of movement cannot be asked without its NEW WORK 2016 BIOGRAPHY piece, le syndrome ian? corollary: space. It’s more than a question; [RUN TIME] 1HR APPROX. Christian Rizzo is a multi-disciplinary artist. It is the third part of a trilogy, after d’après it’s a necessity, space is, de facto, there. Chorégraphie Christian Rizzo He formed a rock band and created a line une histoire vraie and ad noctum where I You cannot think about the body without Danseurs Miguel Garcia Llorens, Pep Garrigues, of clothing before moving on to training explore anonymous dance practices with space, and vice-versa: a space without a Kerem Gelebek, Julie Guibert, Hanna Hedman, in the plastic arts and fashion design. He Filipe Lourenco, Maya Masse, Antoine Roux- choreographed dance. The first part took body doesn’t exist. wound up on the stage by chance, in the Briffaud, Vania Vaneau Création lumières Caty Olive inspiration from the images and sensations Why this title? Création musicale Pénélope Michel, Nicolas Devos 1990s and began dancing for a number of I experienced during a trip to Turkey, It’s a reference to the leader of Joy Divi- (Cercueil / Puce Moment) Assistant artistique contemporary choreographers (Mathilde viewing traditional staged dances. The sion and also to the people who copy Ian Sophie Laly Réalisation costumes Laurence Monnier, Hervé Robbe, Mark Tompkins, Alquier Direction technique Thierry Cabrera Régie second part focused on couples dancing, Curtis and try to be like him. It’s hilarious Georges Appaix, Emmanuelle Huynh, générale Marc Coudrais Régie de scène Jean- and now the third on nightclub dances. how some people think they are like Ian Christophe Minart Rachid Ouramdane…) and occasionally did Each part was a trigger. This time, I want and that’s why I use the term “syndrome.” Production ICI — CCN Montpellier / Languedoc- the soundtrack or lighting design. to put the accent on the spirit of club Actually, I’m not that sensitive to the Roussillon-Midi-Pyrénées Coproduction Opéra de Between creation, performances and dancing. In 1979, there was a confrontation meaning of words, but more to their poetic Lille, Festival Montpellier Danse 2016, Théâtre de choreographic pieces, he also does la Ville Paris, National Taichung Theater (Taïwan), of two systems: disco and new wave; sonority. I suppose it’s also a reference commissioned works for plastic arts Biennale de la danse de Lyon 2016, Centre de two very different incarnations of dance. to his epilepsy, whose symptoms inspired développement chorégraphique Toulouse / Midi- projects and fashion. For the Lyon Ballet One is very rhythmic, with rolling hip the dance, jerky movements that I call the Pyrénées, le lieu unique Scène nationale de Nantes, de l’Opéra, he presented Ni fleurs, ni ford- movements, whereas the other is totally “dance of the butterfly.” TU-Nantes, La Bâtie-Festival de Genève (Suisse) mustang (2004) during the Biennale, and le syndrome ian a bénéficié de la mise à disposition abstract. Back in those days, I didn’t want How did you put together the music? Ni cap, ni grand canyon (2009). de studios au CN D, un centre d’art pour la danse. to choose one or the other; I enjoyed both I am working with the group Cercueil, le syndrome ian est lauréat du Prix FEDORA - Van From 2007 to 2012, Christian Rizzo was in physical practices. Now, I’m going back to who did the soundtrack for ad noctum, Cleef & Arpels pour le Ballet 2015. residency at the Lille Opera Ballet, where the origins to ask what my backbone is and here I asked them to wander about, he created mon amour (2008) for eight made of. between the desire for bass lines and dancers moving slowly through mist, and What do you mean? voice, working on fairly dark melodies, OPÉRA DE LYON l’oubli, toucher du bois (2010), where the 47 I want to look at what I’m made of, at what but with sudden bright bursts. Starting Wed 21, 9pm | Thu 22, 9pm dancers performed in a large wooden box. made me the spectator and choreographer from loops, which are totally unrelated to [PRICES] C Le bénéfice du doute (2012) used abstract that I am. How I stand when the question of the music of Joy Division. I start from that Full price Top price €32 | 2nd price €28 | movements, giving rise to situations. dance is raised. It’s a kind of artistic review. era but it’s not my end point. I don’t want 3rd price €22 Christian Rizzo then started developing a Top price €28 | 2nd price €24 | I’m currently in a phase of transmitting my to transform the stage into a disco. It’s a Reduced price minimalist aesthetic with recurring figures 3rd price €18 work and I’m starting to ask myself ques- base, not a point of view. Half price Top price €16 | 2nd price €14 |3rd price €11 of falling and dying. In 2013, he created tions, in particular about movement. When What is your favourite album by Joy d’après une histoire vraie which was very I was torn between the plastic arts and Division? well received at the Avignon Festival. Based dance, I chose dance precisely because Closer, which is everybody’s favourite. [ON TOUR] on a traditional Turkish dance, with two it is incarnated by the body and the rela- G.V-P. 30 June - 1 Jul, Stadsschouwburg, Amsterdam drummers and eight dancers, the choreo- (Netherlands) tionship between bodies. And the question graphy veers into a physical exploit. 6 Sept, Château Rouge, Annemasse 26-27 Sept, La Comédie de Clermont-Ferrand In 2013, he received the SACD prize for 30 Sept, Le Parvis, Tarbes Choreography and in 2014 was awarded 27-28 Jan, Opéra de Lille the title of Officier de l’ordre des Arts et 3 Feb, Le bateau feu, Dunkerque des Lettres by the Ministry of Culture. In 20-21 Mar, Comédie de Valence 26-28 Apr, Théâtre de Chaillot, Paris 2015, he succeeded Mathilde Monnier as 9-15 Oct, National Theater Taichung (Taïwan) director of the Montpellier CCN. 6-17 Dec, Concertgebouw, Bruges (Belgium)

[REBOUND] The Biennale across the Region La Comédie de Clermont-Ferrand See p.6

SHOW FEATURED IN FOCUS DANCE

PUBLIC PRESS CONFERENCE Christian Rizzo Tue. 20 11am Théâtre Nouvelle Génération – Les Ateliers LYON VILLEURBANNE LYON VILLEURBANNE

PIECE FOR 10 MOROCCAN DANCERS AND 15 EXTRAS BIOGRAPHY [RUN TIME] 30MIN Moroccan-born Bouchra Ouizguen was an Chorégraphie Bouchra oriental dancer from 1995 to 2001, before Ouizguen training in contemporary dance at the Danseuses Kabboura Aït National Choreography Centre (CCN) of Hmad, Khadija Amrhar, Montpellier, and then in the “Bocal/Étude” Zahra Bensalem, Fatéma El Bouchra Hanna, Hasnae El Ouarga, project led by Boris Charmatz. She became Miryam Faquir, Fatna Ibn a performer for Julie Nioche in Bouchra El Khatyb, Noura Oujoute, Matter (2006) and Matter (2007). In 2006 Halima Sahmoud, Malika she wrote the duet Déserts, désirs with Soukri Production Compagnie O Taoufiq Izeddiou, which led to the creation Avec le soutien de of her company Anania, one of the first- Ouizguen l’Institut français du Maroc ever contemporary dance companies in Morocco. COMPAGNIE O Ouizguen’s choreographic process is AMPHITHÉÂTRE DES rooted in her country’s culture. From TROIS GAULES Wed 21, 4pm 2008-2009 she created Madame Plaza after meeting the Aitas, female singers LES SUBSISTANCES - of traditional Moroccan cabaret and VERRIÈRE Wed 21, 7pm custodians of weddings and other rituals. It was with these figures, known for their MUSÉE DES great freedom, that the choreographer CONFLUENCES - Bouchra Ouizguen ©Bouchra Ouizguen Ouizguen ©Bouchra Bouchra PARVIS worked to create Ha! (2014) and Ottof Thu 22, 1pm (2015). Through her approach to gesture 49

TNP, VILLEURBANNE - and her voice work, Bouchra Ouizguen CORBEAUX No, what interests me in rituals is the link like state, but in contact with the people PARVIS gives a platform of expression to these with madness, the mild insanity we all have of Marrakech. That’s why I turned down Thu 22, 6pm freedom-fighters . FRENCH PREMIERE buried inside. I did a lot of research on the offer of the Biennale de Marrakech to [PRICES] Involved in her country’s arts community, How did Corbeaux begin? the presence of madness in North African, perform the piece in a contemporary art Free Ouizguen has helped create a local When I finished my previous piece Ha!, I Persian and Afghan literature from the 9th setting. I feared we would find ourselves choreography scene in Marrakesh, and knew I had removed a long sequence that to 12th centuries. I was amazed to learn barricaded in a protected place. In the end, in 2005 established the Rencontres I liked a lot but which didn’t fit in with the how the madmen of that era had more we presented the work on a bustling traffic [ON TOUR] Chorégraphiques de Marrakech festival 8-10 Jul, Festival de rest. I Decided to go back to that material freedom than in today’s society, where circle. All of the performers were excited with Taoufiq Izeddiou. The choreographer Santarcangelo (Italy) and to rework it. That was the beginning our approach to insanity is almost exclu- by this idea; we didn’t know if we would be 24 Sept-17 Oct, Festival also initiated “On marche”, the first of Corbeaux. I wanted to heighten the sively medical. Our thinking has become insulted or applauded. The choice of the d’Automne, Paris contemporary-dance festival in Morocco gestures and the shouts and so we went narrower. We can also see this in the lexi- site is also meant to free ourselves from 29-30 Sept, Vooruit, Gand devoted to Moroccan choreographers. from four dancers in Ha! to 20 in Corbeaux. con: in the past, there were a multitude of the weightiness of technique; to offer the (Belgium) 29-30 Oct, Le Phenix, But the original experience of the two terms to describe healing rituals. freedom to walk away. Valenciennes pieces is the same. In what way is the form of Corbeaux You’ve been working the past eight years SHOW FEATURED IN What was that original experience? connected to the rituals you experienced with the same group of women. Is that a FOCUS DANCE When we were working on Ha!, we went with your dancers? political choice? to a village near Marrakech to experiment For me, the rituals aren’t outmoded; on You might see it that way. But, for me, it with different rituals linked to madness, the contrary, they are very current. I can also stems from practical considerations. which are also rituals of appeasement. go to a village near Marrakech and spend It took me three years to build up a trus- We lived in the village, trying to blend in the night in a musical trance, in communion ting relationship with these women. It with local daily life and talking to as many with others. It’s impressive how charged would take too much time now to instil that people as possible. We were in a long up we feel after such a night, and that is quality of a relationship if we mixed men in state of peregrination, going from one what I want to reproduce: a brief action with women. It takes time to get to know place to another. We visited saints and to serve as the flashback for a night of each other, to relax with each other. This marabouts, we experimented with rituals. trance. is all the more true because the people I I tried to put off as long as possible the Why present this work in public squares? choose to work with are amateur dancers, return to the dance studio and being shut We didn’t want to present it in a village, like not trained contemporary dancers. I’m inside a room. a ritual, but we also didn’t want to perform interested in their individuality even more Is your work on rituals tied to an interest the piece in a theatre, like a contemporary than in their function. M.F. in the therapeutic function of dance? dance piece. I wanted to aim for a trance- LYON LYON Olivia

Can you explain your creative process… PIECE FOR 10 DANCERS NEW WORK 2016 BIOGRAPHY Some of the scores of the Lettrist move- [RUN TIME] 1HR ment we wanted to reactive are composed Olivia Grandville joined the corps de ballet Grandville Chorégraphie Olivia Grandville of simple gestures and moods, like tossing of the Opéra de Paris in 1981, where she Danseurs Bryan Campbell, Konan Dayot, Gaspard a ball or laughing. The idea was to launch mainly danced the contemporary reper- Guilbert, Tatiana Julien, Maximin Marchand (chant), the dance from concrete actions; it is the Aurélie Mazzeo, Martina Musilova, Sylvain Riejou, toire, then left to focus on contemporary space between two gestures that creates Asha Thomas, Lise Vermot Musique Olivier Renouf dance. In 1989 she joined Dominique dance. I record pieces of music then I Scénographie Yves Godin, Olivia Grandville, Daniel Bagouet’s company, where she danced edit and organise them in relationship to Janneteau Collaboration et assistance Jeanne the lead in several of his creations such as Brouaye Création lumières Yves Godin Meublé sommairement, So Schnell, Jours each other. During the show, the dancers Production Compagnie La Spirale de Caroline follow the instructions they hear in their Coproduction le lieu unique Scène nationale de étranges and Necesito. After Bagouet’s earphones and react immediately. Every- Nantes, Centre Culturel André Malraux Scène death, she cofounded Les Carnets Bagouet thing is highly scripted but, at the same nationale de Vandœuvre-Lès-Nancy, Le Théâtre at the suggestion of Liliane Martinez, Scène nationale de Saint-Nazaire, Pôle Sud Centre time, it’s very free and open to interpre- co-director of the Compagnie Bagouet, de développement chorégraphique Strasbourg, tation. There is also work on the painting La Ménagerie de verre Paris, Le Prisme Elancourt, to sustain the transmission of Bagouet’s itself since the dancers go through the 160 Charleroi Danses Centre chorégraphique de la repertoire over time. At that time, she also painted figures. After reading the fasci- Fédération Wallonie-Bruxelles (Belgique), la Ville de worked on her own output with her own nating analysis of the painting by Claude Nantes Avec le soutien de ministère de la Culture et company, La Spirale de Caroline. de la Communication / DRAC Île-de-France au titre Gaignebet in Sur un tableau de Bruegel, I de l’aide à la compagnie (2015), DRAC des Pays de la Olivia Grandville readily embraces the wanted to bring out the very rich meaning, Loire (2016), ADAMI société des artistes-interprètes, blending of genres: theatre, film, literature where each situation, each figure corres- Région des Pays de la Loire, Fonds d’Insertion and music. She was an associate artist at ponds to a time in the year, to a ritual, to pour Jeunes Artistes Dramatiques, DRAC et Région the Espace des Arts in Chalon-sur-Saône Provence-Alpes-Côte d’Azur, le Centre National de a game. In fact, nothing is hidden in the from 1993 to 2003, in particular creating la Danse Contemporaine d’Angers Olivia Grandville ©Marc Domage ©Marc Olivia Grandville show – the principles are quite legible, but Avec la participation du DICRéAM Comment taire (2004), a solo for which the result is mysterious. she captured gestures by camera using 51 COMBAT DE CARNAVAL What does the painting evoke for you? You’ve said before that the idea was to the EyesWeb software. In 2011 she devised The inevitability of the cyclical principle, create a tableau vivant. What do you THÉÂTRE DE LA CROIX-ROUSSE Le Cabaret discrépant for the Avignon ET CARÊME NEW WORK 2016 but also the vitality of extremes: excess mean by that? Wed 21, 7pm | Thu 22, 7pm Festival, which reviewed the history of Olivia Grandville delves into Brueghel the and austerity. It touches on questions of A tableau vivant in perpetual motion! That [PRICES] C dance through the writings of Isidore Isou Elder’s The Fight Between Carnival and modern society, morality and religion. The is the creative principle: the dancers must Full price €32 | Reduced price €28 | Half price €16 and Maurice Lemaître. In the same year, Lent to extract a choreography based painting represents the confrontation of go through all sorts of instantaneous situa- she created Ci-Giselle for the Ballet de on her own poetic inclinations and her Carnival and Lent –pagan exuberance tions, like mini films that produce a dance Marseille, in a return to the classical voca- [ON TOUR] principle of absolute freedom. At the against religious ritual. There is also a that is very physical, expressive, absurd bulary that she had set aside. In 2014 she Jan, Centre Culturel André Malraux, Scène Nationale heart of this teeming and action-packed calendar representing the continuity of and sometimes funny, but never narrative. de Vandœuvre-lès-Nancy wrote Le grand jeu for the Festival Étrange tableau, Combat de Carnaval et Carême time. The title made me think of the econo- You also use the term carnivorous dance. 14 Mar, Le Théâtre de Saint-Nazaire Cargo in Nantes: a solo haunted by female mic situation I wanted to denounce and figures from the movies, in constant confu- explores the human soul in a highly Carnivorous dance is one that is free to SHOW FEATURED IN FOCUS DANCE singular manner. it gave me a choreographic goal for the feed on its influences. That’s what I do sion between reality and fiction. In Foules piece for 10 dancers: to produce a multi- in this piece, by bringing back into play a (2015), she directed a hundred non-dan- When did you first pick up on Brueghel tude of gestures, in a short period of work number of elements that already appeared cing performers of all ages. Passionate the Elder’s The Fight Between Carnival where the idea was to keep the choreo- in my earlier work or in that of other about the polysemic dimension of dance, and Lent? graphy fairly lean. I wanted to represent choreographers with whom I’ve collabo- this choreographer-dancer enjoys twea- I wanted to do a piece for a large group the idea of exertion: jumping, running, rated. king spectacular forms and creating a and my first effort was Foules, with 100 turning, diving to the ground … This type Etymologically, Carnival is the moment complex poetic language. amateur dancers fitted with mini-ear- of movement is quite different from my when we eat meat and fat, in contrast phones. That work was partly inspired previous piece, Le Cabaret discrépant, with Lent (Carême), when our diet is more by the realistic fiction films of Dutch artist which was a staging of Le manifeste de lean; so I’m playing with the words. But it’s Aernout Mik. In fact, there were two la danse ciselante (Isidore Isou), a text also an allusion to the fact that contem- projects going on at the same time and the written in the 1940s, a visionary analysis porary dance, after taking critical stock of second one followed on the first. I found of the challenges of contemporary dance. its history, now enjoys devouring, incor- several things very striking in the painting: One of the last lines in Cabaret calls for porating and questioning all genres and the tension suggested by the title, the dance to be replaced by a body to come: techniques. The question of style is no multiplicity of characters and the choreo- “This movement is the worst enemy of longer a central focus. It’s wonderful – but graphic nature of the composition, and, as dance, especially in massive doses, as in dangerous at the same time… G.V-P. we also see in Mik’s work, it is an imitation all ballets up until now.” I was aiming for of a genre, applying an allegoric dimension that massive dose, seeking out that body loaded with social commentary. to come. VILLEURBANNE AURILLAC VILLEURBANNE AURILLAC Rachid CCN DE GRENOBLE DUET BIOGRAPHY Ouramdane 2014 [RUN TIME] 1HR Conception et chorégraphie Rachid Ouramdane After training at the National Centre for Avec Annie Hanauer, Lora Juodkaite Lumières Contemporary Dance (CNDC) in Angers, Stéphane Graillot Décors Sylvain Giraudeau Rachid Ouramdane started out in 1992 as Production déléguée Centre chorégraphique a performer with Meg Stuart, Emmanuelle national de Grenoble – codirection Yoann Bourgeois Huynh, Odile Duboc, Christian Rizzo, Hervé et Rachid Ouramdane Coproduction L’A./Rachid Ouramdane, Bonlieu Scène nationale Annecy, La Robbe, Alain Buffard and Julie Nioche. Bâtie-Festival de Genève dans le cadre du projet His own pieces of choreography often PACT bénéficiaire du FEDER avec le programme take the form of “dancing portraits”, in INTERREG IV A France-Suisse Avec le soutien de which he stages encounters that reach Musée de la danse, Centre chorégraphique national de Rennes et Bretagne Pièce créée avec le soutien beyond every prejudice. To explore more du ministère de la Culture et de la Communication/ closely the sphere of the intimate, the DRAC Île-de-France dans le cadre de l’aide à la choreographer gathers numerous pieces compagnie conventionnée et de la Région Île-de- of testimony, which in some of his works France au titre de la permanence artistique. are shown on video. His creations exude Le Centre chorégraphique national de Grenoble est financé par le ministère de la Culture et de la the poetics of bearing witness; personal Communication / DRAC Auvergne-Rhône-Alpes, and collective trajectories are interwo- la Ville de Grenoble, le Département de l’Isère, ven. To this end, Rachid Ouramdane has la Région Auvergne-Rhône-Alpes et reçoit le travelled widely: to Brazil to create Cover soutien de l’Institut français pour les tournées internationales. (2005) and Des Témoins ordinaires (2009); to the former Indochina on the trail of his family’s history for Loin… (2008); to China to

Rachid Ouramdane ©Patrick Imbert Ouramdane Rachid TNP, VILLEURBANNE – PETIT THÉÂTRE gather testimony from climate refugees for Thu 22, 7pm | Fri 23, 7pm | Sat 24, 7pm Sfumato (2012). 53 [PRICES] D Ouramdane’s most recent pieces have Full price €25 | Reduced price €22 | opened up to big ensembles, as in Tout TORDRE of suspension. Each of the dancers esta- Half price €12.50 autour (2014), for the 24 dancers of the Twisting as motif, and intimacy as engine. blishes a particular relationship with the Ballet de l’Opéra de Lyon; and Tenir le In TORDRE, Rachid Ouramdane creates movement. One spins in place, as she has temps (2015) for 16 dancers. He also colla- [ON TOUR] two portraits in movement of distinctive done since childhood, in a type of daily 10 Sept, La Bâtie, Genève (Switzerland) borates with foreign companies, such dancers and, with great delicacy, displays ritual, coming from a compelling need, and 17 Sept, Kostroma (Russia) as Russian outfit Migrazia and Candoco dance that is stripped bare. that led her to develop a highly perso- 28 Sept, Théâtre d’Aurillac Dance Company (UK). Two women. It could be a duet, but in fact nal gyrating technique on demi-pointes, 13-15 Oct, Crossing the line Festival, New York Since 2005, Rachid Ouramdane has been (United States) what we have on stage are two solitudes. achieving incredible velocity. The other 3-10 Nov, Théâtre de la Ville, Paris an associate artist at Bonlieu, a perfor- Two extraordinary dancers, Lora Juodkaite dancer has an articulated arm prosthesis 22 Nov, Espace des arts, Chalon-sur-Saône ming-arts production and dissemination (Des témoins ordinaires, Sfumato and Tenir that goes nearly unnoticed in the begin- Dec, MC2: Grenoble venue in Annecy; and since 2010 at the le temps) and Annie Hanauer (Looking ning because she has integrated it so 24 Jan, LUX, Valence Théâtre de la Ville in Paris. In January 2016, back, Polices ! and Tenir le temps), favou- completely. The lines she cuts in space [REBOUND] he succeeded Jean-Claude Gallotta as rites of the co-director of the national are so fluid and clear that they create a The Biennale across the Region co-director, with Yoann Bourgeois, of the choreography centre (CCN) in Grenoble. personal geometry. This abstract dance Théâtre d’Aurillac See p.6 National Dance Centre (CND) in Grenoble. Their physicality and velocity fully occupy takes on a kind of supernatural charm in SHOW FEATURED IN FOCUS DANCE the scene. combination with the recording of a live In this piece, Rachid Ouramdane delves performance by Nina Simone. into what constitutes the dance of these TORDRE takes its strength from contrast performers. Though it starts with a cere- and digs down into dance in search of mony heavily inspired by American absolute strangeness, that which cannot musicals, with suggestive and codified be expressed. Created in November 2014 postures, it quickly becomes clear that the for the reopening of the Bonlieu Scène subject lies elsewhere. Nationale in Annecy, this piece by Rachid He paints two juxtaposed portraits of exem- Ouramdane is one of his finest, confirming plary sobriety. The set is stripped down to his talent as an artist capable of seizing a fan upstage and two mobile bars crea- on the invisible and sharing it with the ting lines. The costumes are also reduced audience. This contemplative and hypno- to simple black outfits. The power of the tic work questions the very essence of dancers pours out from a full engagement choreographic art: that point of tension with the purity of the dance, taken down that reverses a spectator’s perspective to the bone, creating a strange sensation and his perception of movement. G.V-P. FEYZIN GIVORS SAINT-FONS TASSIN-LA-DEMI-LUNE FEYZIN GIVORS SAINT-FONS TASSIN-LA-DEMI-LUNE

BIOGRAPHY CHOREOGRAPHY HELL L’ÉPICERIE MODERNE, ALSO CHECK FOR THREE PUPPETS FEYZIN OUT Denis Plassard trained in classical and BY ÉMILIE VALANTIN, Thu 22, 8.30pm THREE DANCER6PUPPET RITES contemporary dance at the Conservatoire THÉÂTRE DE GIVORS MASTERS AND Rites is a dance/ Sat 24, 8.30pm National de Région, then at the Lyon THREE VOICES FROM conference conservatoire (CNSMD), after which he THE ABYSS THÉÂTRE JEAN presenting an NEW WORK 2016 spent two years dancing with Josette MARAIS, SAINT-FONS incredible panoply [RUN TIME] 69MIN Tue 27, 8.30pm Baïz’s Compagnie de la Place Blanche. of situations, each Keen to try his hand at choreography, in Conception, L’ATRIUM, TASSIN- crazier than the chorégraphie et 1990 he created his first solo, Propos – LA-DEMI-LUNE other. The perfect Denis mise en scène Thu 29, 8.30pm also the name he chose for his company, Denis Plassard remedy against which is founded the following year. Marionnettes [PRICES] E the doldrums. The connections between text, gesture, Émilie Valantin Danseurs Full price €20 speech and movement are strongly manipulateurs Sonia Reduced price €17 PIECE FOR 7 DANCERS Half price €10 present in his works, which they dyna- Delbost-Henry, Annette [RUN TIME] 1HR20 Labry, Denis Plassard mise. His choreographic style is theatrical SALLE DE SPECTACLE Voix (interprétation LÉON CURRAL, Plassard and is inclined to humour and derision. et composition) [ON TOUR] SALLANCHES CIE PROPOS Denis Plassard likes to take the plunge into Florent Clergial, Nicolas 15 Oct, Lavanderia Sat 1 Oct 8pm See p.6 various artistic worlds, and to mix dance Giemza, Jessica Martin- a Vapore, Festival Maresco Création Chorégraphie et textes with other art forms: video in Mes Têtes de TorinoDanza, Turin costumes Julie (Italie) Denis Plassard Sardines (2009), magic in Encore quelques Lascoumes Création 18 Oct, L’Hexagone Interprétation illusions (2012), theatre in Terrier (a staging lumières Dominique Ryo Scène Nationale Arts Xavier Gresse, of a text by Kafka in 1998, revived in 2010) Régie générale et régie Sciences, Meylan Jim Krummenacker,

Denis Plassard ©Denis Plassard Denis Plassard and Chalet 1 (2012, staging of a text by son Éric Dutriévoz 19 Jan, musée des Annette Labry, Avec le soutien de Géraldine Mainguet, André Baillon) and the puppets in the Confluences, Lyon 55 L’Adami 11 Mar, Biennale du Val Denis Plassard, piece he is presenting at the 2016 Dance Production Compagnie de Marne, Vincennes Laureline Richard, A.H.C. - ALBERTINE, manipulation, which began with Suivez les instructions Biennale. In 2008, he gathered performers Propos Coproduction Émilie Yana Répétitrice and will continue in 2017-2018 with Macbeth/Verdi. from fields of contemporary dance, circus ONYX-La Carrière Manoëlle Vienne Scène conventionnée Direction musicale HECTOR ET CHARLES However, each of the three pieces is self-contained. and hip hop to create DéBaTailles. In Rites danse de Saint- Norbert Pignol NEW WORK 2016 WORLD PREMIERE A.H.C uses a simple device: the piece plunges the (2013), he continued his exploration into Herblain, Biennale de Musique originale A zany encounter between Denis Plassard’s dance three protagonists of the first episode into hell. A speech. la danse de Lyon 2016 enregistrée Quentin and the puppets of Émilie Valantin! For this new piece, hell reminiscent of Dante’s, but revisited in Plassard’s With his Lyon-based Compagnie Propos, Avec le soutien de Allemand, Fabienne Plassard set himself the challenge of writing a crazy extravagant style. A hell where everyone is punished Denis Plassard runs choreographed dance l’Adami Résidences Déroche, Jean- ONYX-La Carrière Paul Hervé, Norbert piece of dance for three puppets. for their sins; where Hector, the husband, is forced nights, workshops, training courses… and Scène conventionnée Pignol, Christophe In A.H.C - Albertine, Charles et Hector, Denis Plassard to spin on his head because he has a tendency to the creation of new work with amateurs, danse de Saint- Sacchettini, Raphaël explores the new expressive and poetic potential of be big-headed; where the couple must dance a waltz such as his involvement in the 2014 Dance Herblain, Théâtre de Vuillard Création a corps-à-corps between puppets and dancers. although they hate touching each other, and so on. Biennale parade. He endeavours to share Givors – direction : lumières Dominique Yves Neff Ryo Création costumes “Create dance for puppets” was the brief self-set by Albertine, Hector and Charles, the troublemaker, all dance that is accessible to all. La Compagnie Propos Béatrice Vermande, the choreographer, who’s always game for a nutty find themselves tossed into the dark depths, becoming est conventionnée Julie Lascoumes Régie challenge. After his collaboration with Émilie Valantin puppets totally dependent on their operators. Without par le ministère de son et régie générale during the previous Biennale Défilé, he was keen to gravity, hell is a strange place where bodies can fly la Culture et de la Éric Dutriévoz “study puppets’ ritual and timeless bodies”, explo- about, glide, and collapse like a pile of old rags. On Communication / DRAC Production Compagnie Auvergne-Rhône-Alpes ring the subject and mixing his own language with stage: three puppeteers followed by three shadows Propos Coproduction et la Région Auvergne- Maison de la Danse de the language of these strange creatures. He chose to which animate them and by three voices, those of Rhône-Alpes, et Lyon, ONYX-La Carrière work on a life-size, articulated puppet, which it was two beatboxers and a singer. In total, nine characters subventionnée par la Scène conventionnée necessary to design in conjunction with Émilie Valan- who kick over their tracks and keep us guessing. Ville de Lyon. danse de Saint-Herblain, tin, because it had to be possible for one person to Playing on the intersection between manipulator and La Rampe - La Ponatière Scène conventionnée operate it, whereas usually each one needs three manipulated, the three shadows relish sweeping the danse et musique puppeteers, as in the Japanese bunraku. Plassard thus three puppets into devilish choreographies, at once Échirolles, Groupe des had to understand the body’s mechanics, find a way burlesque and disjointed. A fiendish sarabande where 20 Auvergne-Rhône- of articulating the back, and open up fresh avenues: no one knows who’s calling the tunes in this dance of Alpes Accueil en “inventing a method of operating the puppets”. the damned. A madcap dance piece that carries the résidence de création ONYX-La Carrière A.H.C - Albertine, Charles et Hector is presented as audience to the edge of the abyss – and of hysterical Scène conventionnée the second part of a trilogy entitled Le cycle de la laughter.. G.V-P. danse de Saint-Herblain Denis Plassard est artiste associé à ONYX-La Carrière Scène conventionnée danse de Saint-Herblain pour les saisons 2013- 2014 et 2014-2015. VILLEURBANNE VILLEURBANNE Olivier Dubois BALLET DU NORD

PIECE FOR 24 DANCERS For the music, you’re talking about a NEW WORK 2016 [RUN TIME] 1HR30 BIOGRAPHY

symphony? Chorégraphie et scénographie Olivier Dubois A talented choreographer and dancer, Yes, an electronic symphony, because the Assistant à la création Cyril Accorsi Danseurs Olivier Dubois has since 1 January 2014 sheer immoderation of the twenty-four Youness Aboulakoul, Benjamin Bertrand, Camerone been director of the National Choregraphy performers on stage deserves a musi- Bida, Mathieu Calmelet, Marie-Laure Caradec, Centre (CCN) of Roubaix Nord-Pas de Jacquelyn Elder, Virginie Garcia, Karine Girard, cal soundscape that sustains, supports, Calais, also called Ballet du Nord. His Steven Hervouët, Édouard Hue, Aimée Lagrange, transports and immerses. As for each of Mélodie Lasselin, Sébastien Ledig, David Le Thaï, dancing training began aged 23, and he my pieces, François Caffenne will compose Clémentine Maubon, Thierry Micouin, Aurélie had spells with Karine Saporta, Dominique the music. Whereas creating for 24 men Mouilhade, Loren Palmer, Sébastien Perrault, Antonin Boivin, Angelin Preljocaj, Jan Fabre and Rioche, Nicolas Sannier, Sandra Savin Musique and women is a gamble, the symphony is Sasha Waltz, before writing his first pieces, François Caffenne Création lumières Patrick Riou in a sense its bold musical counterpart! At Notation Estelle Corbière Entraîneur sportif Alain which have never left the critics indifferent. the moment, we’re working to Decipher Lignier Directeur technique Robert Pereira Olivier Dubois plays on his voluptuous chaos and the Big Bang. Production Ballet du Nord Olivier Dubois / Centre physique, and has always embraced his Why choose the motif of running? chorégraphique national Roubaix Hauts De France curves, which he highlights in solos such as Coproduction Biennale de la danse de Lyon 2016, The exodos (the Chorus’s exit procession Under cover (1999). In 2006, French perfor- Kampnagel Hamburg (Allemagne), Théâtre National in ancient Greek tragedy) is the last part de Chaillot Paris, Opéra de Lille, Grand Théâtre de ming-rights body SACD and the Avignon of Tragédie and thus forms the beginning Provence Aix-en-Provence, Festival TorinoDanza Festival invited him to create a piece for of AUGURI, and will probably move towards (Italie) (en cours…) the Sujet à Vif programme: it was Pour tout Le Ballet du Nord est soutenu par le ministère de a delinking and an elevation. There will be l’or du monde, in which he humorously la Culture et de la Communication / DRAC Hauts currents, counter-currents, birds, refuges, De France, Le Conseil régional Hauts De France, le explored the underbelly of dance. Wearing wind, kidnappings and furies – it’s a piece Conseil départemental du Nord, la Ville de Roubaix. figure-hugging faun tights, Olivier Dubois where, once again, there’ll be a very high shook up the history of art in 2008 with

Les Mémoires d’un seigneur ©François Stemmer d’un seigneur ©François Olivier Dubois, Les Mémoires degree of physical engagement. A coach Faune(s), inspired by Nijinski’s L’après-midi of high-level sportsmen is involved in TNP, VILLEURBANNE – GRAND THÉÂTRE d’un faune. In parallel, he staged the exhi- 57 Thu 22, 9pm | Fri 23, 9.30pm | Sat 24, 9pm physically conditioning the performers, so bition L’interprète dévisagé at France’s AUGURI So, is AUGURI the sequel to Tragédie? that they can satisfy the exacting require- [PRICES] C National Dance Centre (CND). [OLIVIER DUBOIS] As soon as I created ments of AUGURI, while also taking care of Full price €32 | Reduced price €28 | Half price €16 In 2009, the choreographer began a trilogy NEW WORK 2016 FRENCH PREMIERE Tragédie, it became clear to me that I their bodies. on the question of humankind and gender. AUGURI, the new piece by Olivier Dubois, was missing one last delve into this quest What do you mean by the trilogy’s title, Its first instalment was Révolution (2009), [ON TOUR] also concludes his Étude critique pour for the world’s sensations – the quest Étude critique pour un trompe-l’oeil? 11-13 Aug, Kampnagel, Hambourg (Germany) set to Ravel’s Boléro, in which 12 women un trompe-l’oeil trilogy, which actually for happiness! Tragédie was the steps of It’s the assertion that the quest for our 30 Sept- 1 Oct, Turin are chained to pole-dancing poles. The comprises four works written over seven man and his conscience. AUGURI is man’s humanities is our purpose in the world, 4 Nov, Grand Théâtre de Provence, Aix-en-Provence second instalment, Rouge (2011), is a solo 5-7 Dec, Opéra de Lille years: Révolution (2009), Rouge (2011), race towards an absolute – happiness. and also that this approach is made up which he choreographed and performs Tragédie (2012) and AUGURI (2016). The Generating momentum, attempting take- of ourselves, of our souls, our hearts, SHOW FEATURED IN FOCUS DANCE himself. The final piece in the trilogy was director of the Ballet du Nord, whose off, freeing yourself from gravity! And of our sweat, our cries. I also perceive it Tragédie (2012), for nine women and dance is intensely physical and precisely course, as ever, the idea of community as a frontal attack on intellectualisation, nine men, all of them naked, in a raw and constructed, has set himself the challenge togetherness! which I deem a morbid act against art – an generous performance. Meanwhile he of ending his cycle with the quest for Why this title? empty jug, a vague cerebral commen- wrote L’homme de l’Atlantide (2010) for happiness. It’s an Italian term which conjures festive tary. I champion a human approach to the Lyon Dance Biennale, then Envers et “best wishes” in Italian. But it primarily refers art – through being, through what we face à tous (2011) for 120 amateur dancers. to the AUGURIes, the flight patterns of are made of. I fight for the intelligence Group pieces are a prominent feature of birds which, depending on which species of sensation. It’s something of a warning his oeuvre. Olivier Dubois also works with they are, reveal a future – which I dream is against those bodies that are stolen away other companies such as the Opéra de radiant! Am I powerfully optimistic? Without from us, excused, emptied of their blood Lille, the Ballets de Monte-Carlo, and the a doubt – I have an urgent need to be inun- to leave only an idea, a grey and preten- Ballet National de Marseille. dated by this quest for happiness. AUGURI tious concept of disappearance. Whereas In 2011, Dance Europe magazine listed should be observed and scrutinised in the today, there is an urgent need to put the Olivier Dubois as one of the world’s 25 way that people observe birds, swarms, body – Man – back at the heart of the best dancers; and in 2013 he was voted stars. I’m convinced that people’s trajec- essence of the world, because our vitality choreographer of the year in Italy by tories reveal a destiny. Let’s learn to read and our lives depend on it! G.V-P. Danza & Danza magazine. each other’s humanity, let’s reclaim our mystical dimension. AUGURI is an invitation to generate the momentum that carries our destinies, and to understand humanity PUBLIC PRESS CONFERENCE as a secret organisation. The future of the Olivier Dubois world lies in our momenta and our trajec- Tue. 20 11am Théâtre Nouvelle Génération – tories. It is a mystical theorem. Les Ateliers IRIGNY THONON-LES-BAINS AURILLAC IRIGNY THONON-LES-BAINS AURILLAC

DUET 2015 [RUN TIME] 1HR BIOGRAPHY Kaori Ito Born in Tokyo, Japan, Kaori Ito studied Texte, mise en scène et chorégraphie Kaori Ito Assistant à la chorégraphie Gabriel Wong classical dance with the master Syuntoku Dramaturgie et soutien à l’écriture Julien Mages Takagi. In 2000 she moved to New York and Scénographie Hiroshi Ito Lumière Arno Veyrat trained in dance at Purchasae College, Musique Joan Cambon, Alexis Gfeller Conception where she learned the techniques of des masques et regard extérieur Erhard Stiefel Costumes Duc Siegenthaler (Haute École d’Art et de Graham, Cunningham, Limon and Horton. Design de Genève) Coaching acteur Jean-Yves Ruf She then joined Alvin Ailey Dance Thea- Régie son Adrien Maury Régie lumière Carole China, ter; and after that, the Nai-Ni Chen Dance Thomas Dupeyron Company. Production Association Himé Coproduction et accueils en résidence Le Théâtre Garonne Scène She settled in Paris in 2003 to conti- européenne Toulouse, Le Théâtre de Saint-Quentin- nue her journey as a performer. She met en-Yvelines Scène nationale, Les Théâtres de la Ville Philippe Decouflé, who gave her the lead de Luxembourg, La Ménagerie de verre Paris, l’ADC role in his piece Iris. From 2006-2010, - Association pour la Danse Contemporaine Genève Kaori Ito was a member of Ballet Preljo- (Suisse), le lieu unique Scène nationale de Nantes, Klap Maison pour la danse Marseille, L’Avant- caj in Aix-en-Provence, then worked on Scène Scène conventionnée danse Cognac, Le several occasions with James Thierrée Channel Scène nationale Calais et La Filature Scène and Rachid Ouramdane. In 2010 she joined nationale Mulhouse Avec le soutien de ministère de Alain Platel’s Ballets C de la B At once a la Culture et de la Communication / DRAC Île-de- France, La Ville de Genève (Suisse), La Fondation dancer and choreographer, an actor, an Franco-Japonaise Sasakawa, Arcadi Île-de-France, acting coach, and a video artist, she has La Société Suisse des Auteurs (bourse SSA pour la built a multi-faceted artistic profile.

Kaori Ito ©Gregory Batardon ©Gregory Kaori Ito création chorégraphique), Pro Helvetia Fondation This extensive pathway as a dancer has suisse pour la culture, La Société de la Loterie de la made her a tremendous performer. Having 59 Suisse Romande et La Fondation Ernst Göhner L’Association Himé reçoit le soutien de la Fondation danced with the finest choreographers, JE DANSE PARCE QUE the unutterable. A purely autobiographical BNP-Paribas pour l’ensemble de ses projets. Kaori Ito began to undertake her own piece, it has the elegance of modest inti- work as an artist. In 2008 she created JE ME MÉFIE DES MOTS macy and the beauty of a stripping-bare. a first piece, Noctiluque, a poetic tale The sensitive portrait of an artist seeking Compelling and generous-hearted, it LE SÉMAPHORE, IRIGNY involving circus, dance and theatre. She Fri 23, 8.30pm answers. An intimate confession full of displays two bodies – a spindly dancer’s, has since produced a new piece every restraint, Je danse parce que je méfie des and that of her father, a handsome old [PRICES] E year, with backing from Ballets C de la B, Full price €20 | Reduced price €17 | Half price €10 mots confirms the talent of Kaori Ito. man, gentle and eccentric, who is also which co-produces her work. In 2012 she Je danse parce que je me méfie des the scenographer. “Two bodies, of the began to explore her roots in more inti-

mots sets the tone from the off, with a same blood but different, his modelled by [REBOUND] mate pieces: Aurélien Bory wrote the solo title that sounds like a warning. Yet words sculpture and mine by dance”, make the The Biennale across the Region Maison des Arts du Plexus for her. To dispel the exotic clichés are indeed in question in this intimate and space move, explains the choreographer. Léman Thonon-les-Bains | Théâtre d’Aurillac See p.6 that some people attribute to her, she has modest show, in which Kaori Ito stages Slowness and speed, silence and noise, devised more personal pieces such as herself in the company of her father, and like the tango sketched in motionlessness ASOBI (2013). In this show, Kaori explore bombards him with questions. “Why do you which reveals a splendid complicity when the notions of sex object and of fetishism drink coffee?”, “Why do you smoke?”, “Why the two performers lock eyes with the reserved for men in Japan. More recently did you listen to Greek music when we audience’s, as if to reassure themselves of she presented Je danse parce que je were very young?” “Why do you like cous- their presence. me méfie des mots, an intimate duet with cous?”, “Why do you live?”, “How much Well known as a performer for Philippe her father. longer are you going to live for?”, “Why Découflé in Iris, for Angelin Preljocaj in Les are your sculptures dark?”, and so on and 4 saisons, and for James Thierrée in Au so forth. Questions that are simple and revoir parapluie, among others, Kaori Ito concrete, but also intimate and profound, proves with Je danse parce que je méfie weaving the threads of a two-way portrait. des mots that her choreographic talent On stage, two individuals seek each other, is as clear as her talents as a dancer, lay themselves bare, and tame each other, painter, actor and filmmaker. This, her as if they had to start all over again after a sixth piece, created in October 2015 in 10-year absence. Reconciliation and sepa- Saint-Quentin en Yvelines, demonstrates ration, filial élan and emancipation – all of this brilliantly. She who wanted to become this is addressed in Je danse parce que je the new Sylvie Guillem is turning out to be me méfie des mots, and many more things a singular artist who fears nothing, least of too, which are impossible to describe, so all herself. G.V-P. deeply are they rooted in the sensory and OULLINS OULLINS Daniel PIECE FOR 5 DANCERS 2015 [RUN TIME] 1HR10 BIOGRAPHY

Chorégraphie An American dancer and choreographer, Daniel Linehan Daniel Linehan studied dance in Seattle Danseurs then New York. His own work came to Marcus Baldemar, public attention for the first time in 2004 Anneleen Keppens, Liz with a solo, Digested Noise. Linehan Kinoshita, Daniel Linehan, Víctor Pérez Armero From 2005-2006 he created The Sun Came Scénographie 88888 and Human Content Pile, with four dancers. Création costumes These two performances, based on text Frédérick Denis and dance, reflected Linehan’s intention to assisté de Charlotte Matterne Création blur the boundaries between dance and lumières Jan Fedinger everything else. He is curious about all Coordination technique the interactions to which dance is condu- Elke Verachtert cive. The solo Not About Everything (2007) Régie plateau Clive showed him in whirling-dervish mode, Mitchell Production Hiatus reading a letter – a piece that propelled Production déléguée him onto stages worldwide. Caravan Production The choreographer surprised the contem- (Belgique) Coproduction porary-dance world with his physical Opéra de Lille, Théâtre de la Ville Paris, Les performances, blending voice and move- Spectacles vivants ments. In 2008 he trained at P.A.R.T.S., – Centre Pompidou Anne Teresa de Keersmaeker’s school in

Daniel Linehan ©Jean-Luc Tanghe Paris, deSingel Campus Brussels, where he continued to create. international des Arts Montage for Three (2009) featured a 61 Anvers (Belgique), Festival de Danse Cannes slideshow of photos of public figures La compagnie est captured in original poses; Daniel Linehan DBDDBB sounds. This new language invented before autonomy. soutenue par les autorités copied the poses to underscore these Flamandes. Daniel Linehan Daniel Linehan explores walking in all its our eyes becomes the lifeblood of the Linehan’s work has recognisable roots in universal attitudes. est en résidence à l’opéra forms, in a show with bruitist and Dadaist dancers, in the same way the movement P.A.R.T.S., the dance school founded in de Lille depuis 2013. Since 2013 he has been an associate artist references. propels them forward. An acute atten- Brussels by Anne Teresa De Keersmaeker, at the Opéra de Lille, where he presented Piece after piece, the choreographer tiveness develops between the dancers. but it sets aside any notion of psychology, The Karaoke Dialogues in 2014: snatches Daniel Linehan, artist in residence at Opéra dbddbb resembles a game played by over- and shows a strong penchant for formal THÉÂTRE DE of words, letters written by Socrates, de Lille, continues to delve into “physi- grown children, in all seriousness. research, in the manner of other American LA RENAISSANCE, Shakespeare, Dostoyevsky, Kafka, et al OULLINS cal language involving resonance effects When creating the piece, Daniel Linehan postmodern choreographers. His work is are projected on screens and repeated Fri 23, 7pm in the body.” dbddbb takes this original, investigated the movement of marches reminiscent of the sound and polyrhythmic by the seven performers. Linehan’s work uncompromising research even further in in myriad forms: military, bridal, protes- experiments of certain choreographers [PRICES] E constantly involves interaction between Full price €20 a piece for five dancers which refuses any ters, line dance, and others. He asked his before him, like Georges Appaix. dance, text, imagery, song and video. Reduced price €17 attempt at formatting. dancers to experiment with fantasy sounds, In dbddbb, Daniel Linehan carves his mark Half price €10 The dancers step in time with one another, in a Dadaistic spirit inspired by poets Hugo even deeper to create a singular and while speaking sound poetry. Daniel Line- Ball and Kurt Schwitters. Playing with audacious style. The success of dbddbb han builds upon the steady beat of a all possible combinations of sound and owes a great deal to his attention to [ON TOUR] 23 June, Biennale de march to create an intricate choreogra- movement, the five dancers of dbddbb are every detail of the show. This includes the Venise (Italy) phy. The piece is a continual and organic driven by the continuous march; forming a excellent set design by the pair of artists 7 Mar, La Rive Gauche, flow in which each dancer becomes part great machine launched at top speed on 88888: a hanging mobile made of 233 Saint-Étienne-du-Rouvray of a group movement, while developing his the stage. Daniel Linehan tests the limits of stainless steel rods with 17 pink illuminated 14 Mar, La Filature, or her own distinctive manner of dancing. unison and tries to choreograph different shoes, hanging over the stage, creating a Mulhouse 17 Mar, Espace Pluriels, The use of experimental sound leaves ways of being together while preserving zany counterpoint to the choreography Pau ample space for the dancers’ fantasies. each one’s distinctive manner of dancing: unfolding before us. M.F. 21-22 Mar, STUK The show frees itself from the signifying dbddbb negotiates a tricky balancing act Kunstencentrum, Louvain role of language, saving only the play on between group solidarity and individual (Belgium) 6 Apr, La Passerelle, Saint-Brieuc

SHOW FEATURED IN FOCUS DANCE DÉCINES DÉCINES Cecilia

PIECE FOR 6 OR 7 DANCERS NEW WORK 2016 BIOGRAPHY [RUN TIME] BETWEEN 60 AND 90MIN After training at the Conservatoire Bengolea Chorégraphie Cecilia Bengolea et National Supérieur de Dance in Paris, François Chaignaud François Chaignaud collaborated with Danseurs Cecilia Bengolea, François Chaignaud, Boris Charmatz, Emmanuelle Huynh, Alain Valeria Lanzara, Erika Myauchi, Shihya Peng Buffard and Gilles Jobin. Since his very first (distribution en cours) & François Production Vlovajob Pru Coproduction Bonlieu pieces, he has sought to fuse dance and Scène nationale Annecy et La Bâtie-Festival de song through various inspirations, ranging Genève dans le cadre du programme INTERREG from erotic literature to sacred art. He France-Suisse 2014-2020, Club Création Entreprises conceives performances in offbeat places Annecy, L’Échangeur Centre de développement chorégraphique Picardie, le Festival d’Automne à where the audience is often required to Chaignaud Paris / Les Spectacles vivants – Centre Pompidou be in very close proximity. A history buff, Paris, Biennale de la danse de Lyon 2016, Opéra de François Chaignaud published L’Affaire Lille, deSingel Campus international des Arts Anvers Berger-Levrault : le féminisme à l’épreuve (Belgique), Sadler’s Wells London (Royaume-Uni), (1898-1905) in 2009. Centre chorégraphique national de Grenoble, Centre de développement chorégraphique de Toulouse / Cecilia Bengolea, An Argentinian artist, Midi-Pyrénées, Gessnerallee Zürich (Allemagne) trained at the National Choreography NEW WORK 2016 Soutien Institut français Paris (2014 et 2015), FIACRE Centre (CCN) of Montpellier. Her particularly Fonds d’Innovation Artistique et Culturelle en Rhône- NEW WORK 2016 FRENCH PREMIERE varied choreographic vocabulary – Alpes (2015) La Compagnie Vlovajob Pru est subventionnée par ranging from modern jazz to dancehall – is Cécilia Bengolea and François Chaignaud le ministère de la Culture et de la Communication / reflected in her output. She has performed continue to surprise us in this latest piece DRAC Auvergne-Rhône-Alpes et le Conseil régional for Alain Buffard, Mathilde Monnier and combining Georgian polyphonies and photography Chaignaud ©CPRowe Cecilia Bengolea & François Auvergne-Rhône-Alpes, et reçoit le soutien de Mark Tompkins, among others. l’Institut français et de l’Institut français / Ville de Jamaican dancehall. In 2004, François Chaignaud and Cecilia 63 Lyon pour ses projets à l’étranger. Cecilia Bengolea et François Chaignaud sont Bengolea met at a protest, in the Pigalle What was the starting point for this daily practice which is not taught at the because women’s gestures are acutely en résidence longue à L’Échangeur Centre de district of Paris, against the law banning project? music conservatory and is not part of feminised, very much subject to male scru- développement chorégraphique Picardie (2014-2015- prostitutes from soliciting. They have since 2016) et artistes associés à Bonlieu Scène nationale [FRANÇOIS CHAIGNAUD] Initially, we were the folklore. It is an oral tradition whose tiny. Men’s dance, meanwhile, is not limited worked together continually, creating Annecy à partir de 2016. planning to each create a piece but mythologies and sounds are far removed to the gender; its field of expression is Pâquerette (2005-2008), Sylphides (2009) then, last summer, we were invited by from choral or classical music. It is a very wider and much more architectural. and Castor and Pollux (2010). For the Lyon Tanztheater Wuppertal. This became a ancient music, dating back well before From one piece to the next, you explore LE TOBOGGAN, DÉCINES Dance Biennale they staged Altered natives sort of testing ground to unite our respec- the major monotheistic religions. I am very specialised practices. Sat 24, 9pm | Sun 25, 6pm say yes to another excess – TWERK (2012). tive areas of interest in a single creative interested, in general, in repertories for [FRANÇOIS CHAIGNAUD] I have seen [PRICES] D In Dub Love (2013), they combined classical work: Jamaican dancehall and Georgian equal voices, with registers that eliminate among highly specialised dancers that Full price €25 | Reduced price €22 | Half price pointe shoes with the bounciness of dub. polyphonies. We experimented with the gender distinctions. This is why I turn to their ongoing practice leads to a grace and €12.50 Other companies have commissioned way these distinct and autonomous prac- pre-classical repertories which are not expressivity that I value greatly. I get the pieces from the pair in order to expe- tices could be brought together. built on a rational conception of harmo- impression we have lost that in contempo- rience their inventiveness and singular [ON TOUR] How did the creative process work? nies; the melodies are sometimes based rary dance, as if the goal has shifted. style of dance. For the 2014 Lyon Dance 12-14 Sept, La Bâtie-Festival de Genève (Switzerland) [CECILIA BENGOLEA] We are starting audi- on principles of composition that are a bit [CECILIA BENGOLEA] What I love in dance- 30 Sept - 1 Oct, deSingel, Anvers (Belgium) Biennale, they wrote How Slow The Wind tions next week. We are looking for seven magic or illustrative, which is what makes hall is the intimacy with the music - each 29 Nov, Espace 1789, Saint-Ouen for the Ballet de l’Opéra de Lyon. In 2015 dancers who will work through the two them such fertile ground for the confron- movement corresponds to an idea, or 1- 4 Dec, Festival d’Automne, Paris they created pieces for the Ballet de processes, song and dance. The main idea tation with urban dances that have a very a sound. Contemporary dance has a far 7-9 Dec, Bonlieu scène nationale, Annecy Lorraine and for the Junior Classical Ballet 13 Jan, Arsenal, Metz is that we don’t want them to do only what direct relationship with symbolism and more tenuous relationship with musicality. 28-29 Jan, Gessnerallee Zurich (Switzerland) of the Conservatoire National Supérieur de they already know how to do on stage. At expressivity. For this piece, we are trying to go even 12-13 Apr, Comédie de Valence Musique and Dance in Lyon. Wuppertal last summer, it was beautiful Why dancehall? further in terms of precision and complexity 28 Apr, Théâtre de Saint-Quentin-en-Yvelines Their eclectic oeuvre tours worldwide, to see how dancers who had never done [CECILIA BENGOLEA] I’ve been interested with the rhythm. The dancers I admire in 8-19 June, Opéra de Lille and in 2014 the pair were awarded the dancehall style made it their own. in dancehall for a long time. It’s a dance Jamaica invent moves every day. As for SHOW FEATURED IN FOCUS DANCE Young Artist Prize at the Gwangju Biennale Why bring together Georgian of disobedience. I have some friends in me, I invent contemporary dance steps in South Korea. polyphonies and dance? Jamaica who are gang members but also that are influenced by dancehall. That is [FRANÇOIS CHAIGNAUD] The solo piece I dancers. They invent moves, which is a way what’s interesting for us in contemporary did was my first attempt at this. With this for them to speak about their world. For dance - that we can still create. M.F. new work, I wanted to see how it could this piece, I spent three weeks in Kingston SEE CORPS REBELLES EXHIBIT PUBLIC PRESS CONFERENCE be done by a group. I went twice to the working on the choreographies I wanted to Cecilia Bengolea & François Chaignaud BODY | HIGHBROW DANCE, Georgian Republic. Singing there is a convey. These are mostly dances for men Fri. 23 11am Théâtre Nouvelle Génération – Les POPULAR DANCE P.10 Ateliers VALENCE LYON CLERMONT-FERRAND VILLEFONTAINE VALENCE LYON CLERMONT-FERRAND VILLEFONTAINE Cristiana

SOLO BIOGRAPHY Morganti 2014 [RUN TIME] 1HR10 Chorégraphie et Italian dancer and choreographer Cristiana interprétation Morganti trained in classical dance at Cristiana Morganti the Accademia Nazionale di Danza in Collaboration théâtrale Rome and in contemporary dance at the Gloria Paris Création Folkwang Hochschule in Essen, Germany, lumières Laurent P. Berger Vidéo Connie Prantera where she developed collaborations with Conseiller musical Kenji several choreographers such as Susanne Takagi Avec le soutien de Linke, Urs Dietrich, Joachim Schlömer, l’Institut Culturel Italien Va Wölfl and Wanda Golonka. She also Production il Funaro Centro Culturale Pistoia attended acting courses with Odin (Italie) En collaboration Teatret and Eugenio Barba, and trained in avec Fondazione I teatri contemporary dance with Carolyn Carlson. Reggio Emilia (Italie) In 1993 she joined Pina Bausch’s company at the Tanztheater in Wuppertal, and still works there today. She dances in THÉÂTRE DE LA CROIX-ROUSSE practically all of its repertoire, and has Sat 24, 5pm been a soloist un many new works. In Sun 25. 3pm 2011 Cristiana Morganti received the Tue 27, 8pm Positano Leonide Massine award as best [PRICES] D contemporary dancer of the year. Full price €25 As a choreographer, she devised the

Cristiana Morganti ©Claudia Kempf Cristiana Morganti Reduced price €22 dancing lecture MOVING WITH PINA (2010) Half price €12.50 in tribute to Pina Bausch. This piece, which 65 has enjoyed great success, is a journey [ON TOUR] through Bausch’s world, in the form of a JESSICA AND ME Cristiana Morganti Decided to stop and trick in her trade. With great humour and a 6-7 and 10 Sept, Théâtre danced autobiography full of anecdotes FRENCH PREMIERE think about herself: on her relationship with talent for warping any situation, her show Le Merlan scène nationale, and humour. Marseille Cristiana Morganti, one of Pina Bausch’s her own body, with dance, on the reasons is funny and facetious as it reveals theatre Since 1997, Cristiana Morganti has also run 17 Jan, Festival d’Angers most famous dancers, creates a she chose to devote her life to it, on the in the making, frequently interrupting the 16-24 May, Théâtre des dance workshops with Dr Laura Bertelé celebratory piece that shines an inner meaning of “oneself as another” which demonstration to remove herself from Abbesses, Paris for teenagers suffering from scoliosis light on the workings of her trade. comes with performing. The result is an the action, to the position of creator. and severe mobility problems. She is also [REBOUND] Trained in classical dance at the ironic and disconcerting dual self-portrait It is amazing to hear a dancer of this stature The Biennale across the Associate Professor at the Conservatoire Accademia Nazionale di Danza in Rome, (Jessica and me) in which Cristiana gives expose the inner workings of a dancer’s Region National Supérieure of Paris (CNSMDP) and in contemporary dance at Folkwang a peek behind the scenes of her career. life and share with us a few recipes on La Comédie de Valence | and at the Accademia Nazionale di Danza La Comédie de Clermont- Hochschule in Essen, Cristiana Morganti It is rare to see dancers express themselves how to compose it. Anyone expecting in Rome. She appeared in the films Parle Ferrand | Théâtre du worked with several choreographers in in this way about their art. Whereas the revelations about the work of Pina Bausch Vellein, Villefontaine avec elle (Pedro Almodovar, 2001) and Germany: Susanne Linke, Urs Dietrich, cinema is built on a fascination for actors, will no doubt be disappointed. The ghost of See p.6 PINA (Wim Wenders, 2011). Joachim Schlömer, Felix Ruckert, Va Wölfl, dance mostly elides the names of dancers. Pina, one of the greatest choreographers SHOW FEATURED IN Wanda Golonka… But she is most widely Programming and communication are of the 20th century, who died in 2009, FOCUS DANCE known by audiences and professionals centred on the names of choreographers, can of course be felt in Jessica and me SEE DANCERS STUDIO for the 20 years she spent at Tanztheater which means that few dancers achieve but the scope of the show is far larger. See p.9 Wuppertal with Pina Bausch, as a soloist fame among audiences. This is a surprising Through the figure and memory of starting in 1993, soon becoming the most paradox, knowing that the majority of Pina Bausch, the show centres on the emblematic of the troupe’s dancers. contemporary dance creations emerge mysterious passing of time and death. Anyone who has seen a Pina Bausch piece from the improvisations of the dancers. A droll and cruel piece, full of boastful cannot help but think of the fiery Italian, “Do you want me to dance or do you humour, Jessica and me teaches a with her ample curves and wild black want me to speak?” That says it all. This great lesson of on theatre and artifice, PUBLIC PRESS CONFERENCE hair, gifted with an extraordinary energy. question to the audience is one of the in a nostalgic yet clairvoyant ode to the Cristiana Morganti Where has her career taken her since then? trademarks of the show. A true show- ephemeral nature of our presence. M.F. Fri. 23 11am Théâtre Nouvelle Génération – A few years after the death of Pina Bausch, woman, Cristiana Morganti rolls out every Les Ateliers OULLINS ANNEMASSE OULLINS ANNEMASSE Louise

DUET BIOGRAPHY Lecavalier NEW WORK 2016 [RUN TIME] 1HR05 Conception et chorégraphie Louise Lecavalier Louise Lecavalier says that dance brought Danseurs Robert Abubo, Louise Lecavalier back her memory of this character: “I was Musique Antoine Berthiaume Musique additionnelle looking for the dance of an armoured Steve Roach Création costumes Yso Création body. It is not moved by emotions but by lumières Alain Lortie Assistante à la chorégraphie et a strange, indefinable force, a pure or répétitrice France Bruyère Production Fou glorieux Coproduction tanzhaus crazed fantasy. The movement is light, nrw Düsseldorf (Allemagne), HELLERAU - European sparkling, incisive; the character needs no Center for the Arts Dresden (Allemagne), le rest. He slides, trembles, vibrates, jumps. CENTQUATRE-Paris, Festival TransAmériques He travels across land and space, stops (Canada), Usine C (Canada), Centre national des Arts Ottawa (Canada) and finds his balance, untroubled. He meets Louise Lecavalier est artiste associée internationale another character (played by dancer au CENTQUATRE-Paris. Robert Abubo) who becomes his sidekick, Fou glorieux est soutenue par le Conseil des arts alter ego. The one in the shadows. (…) I like et des lettres du Québec (Canada), le Conseil des the philosophical questions raised by Italo Arts du Canada et le Conseil des arts de Montréal (Canada). Calvino and his knight, who does not need to exist, just to be. In the beginning, he is devoid of sentiment and exists only in his THÉÂTRE DE LA RENAISSANCE, OULLINS intransigence. But he begins to change Mon 26, 8pm | Tue 27, 8pm and becomes a bit more human. I play with [PRICES] D stretches and balances as I continue to Full price €25 | Reduced price €22 | Half explore persistent and haunting rhythms,

Louise Lecavalier ©André Cornellier ©André Louise Lecavalier price €12.50 throbs in fluidity, and trance-like states. I took a cooler, more mechanical approach 67

[ON TOUR] to the dance, like the workings of an MILLE BATAILLES performing his technically demanding 26 Nov, The Banff Centre (Canada) obsession or an absence. I was looking productions. The dancer took up new 8-10 Mar, Usine C, Montréal (Canada) for a very graphic dance, for a solo or NEW WORK 2016 collaborative efforts with choreographers 18-20 Mar, Tanz Bremen, Brême (Germany) duet. While the movements follow on from 24-25 Mar, Teatro Central, Séville (Spain) After So Blue, Louise Lecavalier returns to such as Benoit Lachambre and Ted Robin- my previous work, it is less feverish and 29 Mar, Teatro Alhambra, Grenade (Spain) the stage in a duet entitled Mille batailles, son. She founded her own company in 1 Apr, Klap Maison pour la danse, Marseille passionate; it is designed for its mechani- inspired by an Italo Calvino Novel. 2006 and created her first works, most 12-13 May, Salle du Lignon, Vernier (Switzerland) cal qualities. A star dancer of the 1980s, Louise Leca- notably So Blue (2012) and Mille batailles 16-17 May, Kasern, Bâle (Switzerland)

valier was for 17 years the muse of (2016). [REBOUND] choreographer Édouard Lock, direc- Mille batailles is inspired by Italo Calvino’s The Biennale across the Region tor of the famous LA LA LA Human Steps Novel, The Nonexistent Knight (1959), a Château Rouge, Annemasse See p.6

company. Known for her exceptional part of the trilogy Our Ancestors, which SEE DANCERS STUDIO virtuosity and a technique rivalling that also includes The Cloven Viscount (1952) See p.9 of high-level gymnasts, Louise Lecavalier and The Baron in the Trees (1957). The imposed her daring on the international Novel deeply affected Louise Lecavalier, scene, in incredible performances expres- as it plunges the reader into a medieval sing her rock & roll personality - taking her world and the quest for the Holy Grail. all the way to the stage with David Bowie It follows several characters, especially in 1988, and again in 1990 for the launch Agilulf, the wandering knight, a model of of the Sound and vision tour. She is the perfection and righteousness. Calvino’s supple girl with the platinum blond mane Novel is also a modern critique of roboti- we see in the videos from that event. cized man - technically perfect but empty In the early 2000s, Louise Lecavalier inside; the ideal man of our bureaucratic began to move away from Édouard Lock, societies. M.F. SEE CORPS REBELLES EXHIBIT as her hip operation prevented her from BODY | VIRTUOSO DANCE P.10 CALUIRE-ET-CUIRE ANDRÉZIEUX-BOUTHÉON ALBERTVILLE CALUIRE-ET-CUIRE ANDRÉZIEUX-BOUTHÉON ALBERTVILLE

PIECE FOR 8 DANCERS ALSO CHECK OUT BIOGRAPHY 2014 [RUN TIME] 55MIN PERFORMANCE FORT APACHE Chorégraphie An Italian-born dancer, choreographer Fabrizio Favale A dialogue with the works and researcher, Fabrizio Favale trained Danseurs Martin on display at the museum. in dance in the United States with Jeff Angiuli, Daniele Bianco, Par Fabrizio Favale Slayton, a Merce Cunningham dancer, and Vincenzo Cappuccio, with Irene Hultman, a Trisha Brown dancer. Martina Danieli, Andrea Del Bianco, He returned to Italy to perform for choreo- MUSÉE D’ART MODERNE Fabrizio Favale, Francesco grapher Virgilio Sieni, from 1991 to 2000. In ET CONTEMPORAIN Fabrizio Leone, Stefano Roveda 1996, he received the dancer of the year DE SAINT-ÉTIENNE Musique Daniela MÉTROPOLE award in Italy. Cattivelli (live), Keith Fri 23 Sept 7.30pm Fullerton Withman His piece Kauma (2007) was selected for

(musique enregistrée) the Aarhus International Choreography [PRICES] Scénographie Andrea Del Full price €8 Competition in Denmark. His solo Il gioco Bianco, Fabrizio Favale Reduced price €5.50 del gregge di capre (2009) won the 13th Favale Création costumes International Festival of Choreographic Andrea Del Bianco, Fabrizio Favale Création Miniatures at the National Theatre in lumières Tiziano Ruggia Belgrade, Serbia. Un ricamo fatto sul nulla Masques créés à partir was presented at the Shanghai World de sable volcanique de Expo in 2010. l’Eyjafjallajökull (Islande) réalisés par Fabrizio Fabrizio Favale conceives abstract dance Favale et Alberto Trebbi that is able to reference myths, as in ALBERI Avec le soutien de (2013) inspired by pagan and popular tradi-

Fabrizio Favale ©Giovanna Bigazzi ©Giovanna Favale Fabrizio l’Institut Culturel Italien tions and rituals. The dancers’ presence Production Le Supplici, is discreet, and the bodies’ intermittent 69 Kinkaleri (Italie) La Compagnie Le Supplici absence enhances the piece’s appeal to OSSIDIANA FRENCH PREMIERE Fabrizio Favale was no doubt inspired here est soutenue par MIBACT spectators. All of Fabrizio Favale’s work Fabrizio Favale, a dancer from 1991 to 2000 by his travels to Iceland. (Italie) et la Regione also contains echoes of nature. In Isola- Emilia-Romagna (Italie). for Virgilio Sieni, create his own company Ossidiana creates a strong and singular rio (2012) he stages a faraway land – an En collaboration avec in 1999, developing works that are both visual universe, through the play of shadow Ater Danza (Italie) et abstract/figurative hybrid –in which the sensual and abstract, intensely danced and light that confers a deep strangeness AtelierSì (Italie). dancers move. and visually powerful, rooted in archaic on the scene. The choreographer takes In 2011 he was awarded the Italian medal rituals, fairy tales and ancient myths. inspiration from the religious iconography of choreographic talent by the country’s Ossidiana owes its name to a volcanic of the Middle Ages, evoked in the masks RADIANT – BELLEVUE, president. Fabrizio Favale is active in CALUIRE-ET-CUIRE rock found in southern Italy which gives and hoods worn by the dancers, and contemporary output. In 2013 he held Mon 26, 8.30pm the beaches of the region their black the semi-darkness that sets the stage a residency at the classical theatre in shine. This cold stone that resists crystal- for mysterious dreams. The eight male [PRICES] D Bologna to create “Circus Maximus”, a Full price €25 lisation is a metaphor for the work itself dancers, often bare-chested, perform four-month arts project which showcased Reduced price €22 which blends eruptive materials. a sensual and esoteric rite of passage, Half price €12.50 several choreographers’ experimental The dance undulates and spins in a conti- imbued with mysticism, in a darkly baroque approaches to choreography. nuous cascade, creating a near-hypnotic and voluptuously strange piece. As state in the audience. The impression is Fabrizio Favale puts it, “I think that humanity [ON TOUR] underscored by the enveloping waves is not the prime subject matter of dance. It 31 May, Festival Interplay, Turin (Italy) of sound mixed live by the DJ Daniela is rather something that is stellar and out 20-21 June, Théâtre INDIA, Cattivelli. The music heightens the atmos- of reach. Evoking another world we desire Rome (Italy) phere of the choreography, in an abstract but cannot fully know. The desire aims for [REBOUND] ballet of figures and shapes that appear the stars, and dance, from this perspective, The Biennale across the and disappear, in movements that evoke is always celestial.” M.F. Region the changing weather of a stormy sky. Théâtre du Parc, Andrézieux-Bouthéon | Le DÔME Théâtre, Albertville See p.6 LYON SAINT-ÉTIENNE CHAMBÉRY LYON SAINT-ÉTIENNE CHAMBÉRY ALAIN LES BALLETS C DE LA B

PIECE FOR 9 DANCERS NEW WORK 2016 BIOGRAPHY [RUN TIME] BETWEEN 1HR30 AND 2HR An emblematic figure of contemporary Chorégraphie et mise en scène Alain Platel creation in Europe, Alain Platel was trained PLATEL Composition et direction musicale Steven Prengels as a special-needs teacher. An autodidact Création et interprétation of live performance, he is now a director Ido Batash, Bérenger Bodin, Romain Guion, David and choreographer. Le Borgne, Boule Mpanya, Samir M’Kirech, Dario Rigaglia, Elie Tass, Russell Tshiebua Dramaturgie In each of his shows, Platel seeks to show Hildegard De Vuyst Dramaturgie musicale Jan the beauty of humanity in all its diver- Vandenhouwe Assistance artistique Quan Bui Ngoc sity, through dance mixed with theatre, Assistance à la mise en scène Steve De Schepper music and circus arts. Thanks to his initial Scénographie Berlinde De Bruyckere Création lumières Carlo training, he is also interested in psycho- Bourguignon Création son Bartold Uyttersprot logical disorders and human frailty. In Out Création costumes Dorine Demuynck Régie plateau of Context - For Pina (2010) he explored Wim Van de Cappelle Photographie Chris Van der the possibility of finding a different use Burght for movements caused by pain, disease Production les ballets C de la B Coproduction Biennale de la danse de Lyon 2016, Ruhrtriennale and withdrawal, which led him to create a (Allemagne), La Bâtie-Festival de Genève (Suisse), tortuous and highly skilled choreographic TorinoDanza (Italie), Opéra de Lille, Kampnagel vocabulary, crackling with energy. Hamburg (Allemagne), MC93 Bobigny, Holland His renowned staging techniques highlight Festival (Pays-Bas), Ludwigsburger Schlossfestspiele (Allemagne), NTGent (Belgique), Brisbane Festival the dancers’ bodies. tauberbach (2014), (Australie) Avec le soutien de la Ville de Gand, presents a huge pile of clothing, where la Province de la Flandre-Orientale, les Autorités a magnified version of humanity, stripped

, 2014 ©Chris Van der Burght , 2014 ©Chris Van tauberbach Alain Platel, flamandes bare, confronts its demons. Music always plays a key role in the creations of Alain 71 Platel. Pitié ! (2008) was inspired by Bach’s MAISON DE LA DANSE Tue 27, 8.30pm | Wed 28, 7.30pm St. Matthew Passion. Coup Fatal, perfor- MAHLER PROJEKT than performance. vsprs was structured grapher as a dramatist since La Tristeza med at the Maison de la Danse de Lyon [PRICES] C as ecstasy in five stages. Out of Context – Complice, is also joining the team. For the in 2014, features explosive dancing with (WORKING TITLE) Available in the Maison de la Danse subscription for Pina (2010) was a voyage into the past, scenery, Alain Platel is working for the first Full price Top price €32 | 2nd price €28 12 Congolese musicians and dancers and NEW WORK 2016 FRENCH PREMIERE a return ticket to the beginnings of time. time with Berlinde De Bruyckere. Dorine Reduced price Top price €28 | 2nd price €24 countertenor Serge Kakudji. It would be impossible to shoehorn Alain Gardenia was an ode to the process of Demuynck (Out of Context-For Pina, C(H) Half price Top price €16 | 2nd price €14 In 1984, Alain Platel founded his first troupe, Platel’s work into any specific genre. transformation. tauberbach (2014) joined OEURS and Coup Fatal) is in charge of the Les Ballets C de la B (for The Contempo- His shows are often a unique mixture of this repertoire like an initiation, a hazing, a costumes. The nine performers include rary Ballets of Belgium), with his friends [ON TOUR] dance, music, theatre, circus arts, and baptism, an immersion, and thus, undoub- several dancers with whom the artist has 16-17 Sept, La Bâtie, Festival de Genève (Switzerland) and family, operating as a collective and more, but always with a focus on deviance tedly, as a form of healing. Coup Fatal already worked, and a few new talents. 23-24 Sept, TorinoDanza, Turin (Italy) still performing on stages worldwide. For and discordance. (2014) paid tribute to a joie de vivre: energy Mahler’s music is not the only source 30 Sept, La Comédie de Saint-Étienne the past few years, Les Ballets C de la B Like no one else, he sees beauty where and resilience. The show suggested a of inspiration. The show also draws on 4-5 Oct, Festival Actoral, Marseille has become a creative platform, where 8-9 Oct, Aperto Festival, Reggio Emilia (Italy) others see ugliness, in what is often possible means of rebellion. Mahler’s biography, incorporating place several renowned choreographers work 12-13 Oct, Espace Malraux, Chambéry termed a disease or syndrome: spasms, For his latest piece, Alain Platel will be and time. The place is Austria (and by 19-22 Oct, deSingel, Antwerpen (Belgium) (Kaori Ito, Sidi Larbi Cherkaoui and others), cramps, convulsions: muscle tensions that surrounded by some familiar collabo- extension Europe) and the time is the 4-5 Nov, Festival Temporada Alta, Gérone (Spain) both separately and together. are out of the ordinary. Alain Platel forces rators. The musical direction will be late 19th and early 20th centuries. The main 08-10 Nov, Le Maillon, Strasbourg people to look and listen differently. entrusted to Steven Prengels, who worked focus is on the first years of the 20th 16-19 Nov, Opéra de Lille, Lille 24-26 Nov, Kampnagel, Hamburg (Germany) In his work – from Bonjour Madame to with the choreographer on Gardenia, C(H) century – Mahler died in 1911 – which finally 29-30 Nov, Scène Nationale Bonlieu, Annecy Wolf – Alain Platel has sought to represent OEURS, tauberbach and En avant, marche ended in the major crises and tragedies of 3 Dec, Teatro Grande, Brescia (Italy) our world in all its diversity and multicultu- !. In terms of music, not only will the artists the two world wars. Philipp Blom descri- 10 Dec, Maison de la Culture, Arlon (Belgium) ralism, and over the past Decade he has be inspired by several songs and excerpts bed this period perceptively in his works 14-15 Dec, Stadsschouwburg, Louvain (Belgium) 20-21 Dec, Scène Nationale du Sud-Aquitain, been working with people from very dispa- from Gustav Mahler, but also by polypho- The Vertigo Years and The Wars Within. Bayonne rate origins and artistic backgrounds, in nic traditions, especially those imported by Not only does he draw parallels between order to convey this diversity. Since vsprs the Congolese singers Boule Mpanya and that era and contemporary events, he also [REBOUND] PUBLIC PRESS CONFERENCE The Biennale across the Region Alain Platel (2006), his work has been looking further Russell Tshiebua, whom Alain Platel met reveals how the music of Mahler and art in La Comédie de Saint-Étienne | Espace Malraux, Mon. 26 11am Théâtre Nouvelle Génération – inward and going deeper, and his shows through Coup Fatal. Hildegard De Vuyst, general express the violent emotion and Chambéry See p.6 Les Ateliers have become more akin to experience who has been working with the choreo- great confusion of the times. CHARBONNIÈRES-LES-BAINS VILLEFONTAINE CHARBONNIÈRES-LES-BAINS VILLEFONTAINE

JosetteCOMPAGNIE GRENADE

PIECE FOR 11 DANCERS 2014 [RUN TIME] 1HR10 BIOGRAPHY Josette Baïz studied dance with Odile Baiz Chorégraphies Germaine Acogny et Patrick Acogny, Eun-Me Ahn, Katharina Christl, Dominique Hervieu, Duboc, and then in 1978 she turned to Sun-A Lee, Blanca Li teaching. Performing with Jean-Claude Transmission des chorégraphies Le Corbeau Gallotta at the beginning of the 1980s, she et le Renard : Bobo Pani ; Pochette Surprise : won 1st place in the Concours Internatio- Pascale Peladan ; Waxtaan : Germaine Acogny, Patrick Acogny, Bertrand Saki ; Afro-Dites : nal de Chorégraphie de Bagnolet as well Germaine Acogny, Bertrand Saki ; Get…done : as in the competitions of the Public and of Katharina Christl ; Waves : Sun-A Lee ; Plexus 10 : the French Ministry of Culture in 1982. Katharina Christl ; Let me change your name : In 1989, she obtained the support of the Clint lutes Danseurs distribution en cours Maître de ballet Élodie Ducasse Scénographie et lumières Ministry of Culture and Communication Dominique Drillot Musiques originales Le Corbeau for a residency in the northern districts of et le Renard : design sonore Catherine Lagarde ; Marseille. This Decisive experience led the Waxtaan : Oumar Fandy Diop et les musiciens de choreographer to question the meaning of l’École des Sables ; Afro-Dites : Fabrice Bouillon her work and change her artistic method. Laforest ; Get_done : Alva Noto «Time Dot» ; Waves : Benga, Skream ; Plexus 10 : Ennio Morricone She discovered folk dances, which led her «Il était une fois dans l’Ouest» ; Jean-Sébastien to take a new approach to choreography. Bach «La passion selon Saint Mathieu» ; Let me Constantly shifting gears, Josette Baïz change your name : Young-Gyu Jang ; musiques teaches ballet and modern dance, while additionnelles (soli) : Jean-Jacques Palix Re-création costumes Philippe Combeau, Christiane Crochat, the young people of Marseille have intro- Sylvie Le Guyader, Julie Yousef Régie générale et duced her to hip hop, belly dancing and lumières Erwann Collet Régie son Mathieu Maurice gypsy, Indian and African styles of dance.

Josette Baïz ©Jorge Perez - lookmeluck.com Perez Baïz ©Jorge Josette Production Compagnie Grenade These dance encounters are energising. Avec le soutien de KLAP Maison pour la danse In 1992, Groupe Grenade was created with 73 Marseille (résidence de finalisation mai 2014). La Compagnie Grenade est conventionnée par about 30 young dancers. When in 1998, le ministère de la Culture et de la Communication some of these dancers became adults and WELCOME can dance, Germaine Acogny, directs 10 / DRAC Provence-Alpes-Côte d’Azur ; est reached a genuine level of artistic maturity, subventionnée par le Conseil départemental des Compagnie Grenade, founded by Josette performers in an eminently political and Josette Baïz Decided to professionalise Bouches-du-Rhône, le Conseil régional Provence- Baïz, is back in action, with an exclusively fundamentally poetic piece, Waxtaan, Alpes-Côte d’Azur, la Ville de Marseille et la Ville them, and so she founded Compagnie feminine programme. Juvenile and lively, based on various traditional dances d’Aix-en-Provence. Grenade. At present, some 60 dancers hybrid and profound, Welcome is a call to from western Africa. Waxtaan, a show perform in Groupe Grenade (50 child- dance! co-written with her son, features an ren and teens) and Compagnie Grenade Compagnie Grenade has been travelling incredibly rich gestural and rhythmic voca- ESPACE CULTUREL ALPHA, (10 professional adult dancers). CHARBONNIÈRES-LES-BAINS all over France for 23 years. The guest bulary, and dares to take a new look at With them, Josette Baïz has invented a Tue 27, 8.30pm choreographers from the 2011 show were these dances, which are usually perceived hybrid style of dance, driven by boundless mainly masculine but this time they are as popular folklore. The young choreo- [TICKET OFFICE] energy. She regularly adds to the choreo- www.3emeacte.com/charbonniereslesbains/ exclusively feminine. Choreographers, grapher Sun-A Lee composed the quintet graphic repertoire by collaborating with +33(0)4 78 87 64 00 French or foreign, renowned or emerging, Waves for five dancers, while Eun-Me Ahn internationally renowned choreographers, have staged one of the most distinctive proposes an excerpt from her series Let thus fostering encounters and exchanges. pieces of their work: Blanca Li, Sun-A Me Change Your Name, in which the move- [ON TOUR] Lee, Katharina Christl, Eun-Me Ahn, Domi- ments consist of a to-and-fro between the 19 Jan, Théâtre Jean Lurçat, Aubusson nique Hervieu and Germaine Acogny. Their dancers, who transcend the conventio- 21 Jan, La Coloc’ de la Culture, Cournon-d’Auvergne 3-4 Mar, Théâtre de Grasse unique and personal visions are performed nal meanings of time and space. German 4 Apr, Château Rouge, Annemasse in highly contrasting worlds, shifting back choreographer Katharina Christl, a former [REBOUND] and forth from one rhythm to another. soloist with the Ballet de Marseille, brings The Biennale across the Region In all, seven pieces make up the programme, her 10 dancers to a duel in a performance Théâtre du Vellein, Villefontaine See p.6 featuring both recent and older works. about openness. It all begins with a fable by Jean de La Welcome proposes an inventory, along Fontaine, choreographed in 2003 by Domi- the lines of Prévert, making unexpected nique Hervieu, and then Blanca Li offers connections and perfectly illustrating the Pochette Surprise, one of the eight skits principles of Compagnie Grenade: mixing from the show Alarmes, created in 2004. cultures and genres to achieve explosive The high priestess of contemporary Afri- energy! G.V-P. LYON ÉCHIROLLES SAINT-ÉTIENNE LYON ÉCHIROLLES SAINT-ÉTIENNE

RELIC representing the neurotic imprisonment of SOLO BIOGRAPHY An unclassifiable solo using burlesque to the character. 2015 [RUN TIME] 45MIN ridicule social conventions. Relic is burlesque theatre where everything Chorégraphie, mise en scène, scénographie Euripides Laskaridis is a Greek stage Greek artist Euripides Laskaridis is strange and unexpected. The perfor- et interprétation Euripides Laskaridis director, filmmaker and performer. After - short-filmmaker, director and performer - mance is clearly “queer”: not only does the Conseil artistique Tatiana Bre Conseil à la graduating from the Karolos Koun - Art dramaturgie Alexandros Mistriotis Création has already built quite a reputation. He has character blur the boundaries of mascu- Theatre drama school in Athens, he moved costumes Angelos Mendis Création sonore Kostas worked with the famous choreographer line and feminine, he becomes totally Michopoulos Régie lumières Miltos Athanasiou to New York in 2000 to study stage direc- Dimitris Papaioannou who, among other unrecognizable, like his show, which defies Conseil musical Kornelios Selamsis Conseil lumières tion. His first short film, Downlove, won the works, staged the opening ceremony of classification. Both familiar and strange, Eliza Alexandropoulou Assistante du directeur Jumping Frames Award in Hong Kong in the Olympic Games in Athens in 2004, and endearing and repulsive, Relic thwarts the Ioanna Plessa Éléments de décor spécifiques Marios 2007. Sergios Eliakis, Ioanna Plessa Accessoiristes James has shown his own work at festivals such audience’s ability to pass judgement. The Konstantinidis, Natasa Kouvari Assistante costumes In 2009 he founded the Osmosis Theatre as the New York International Fringe Festi- mockery is made clear in the way simple Melina Terzakis Musiques et son Roumba Relic de Company, with which he stages his val and in places like Judson Church Dance actions and accessories are deviated from Kornelios Selamsis, Dá-me um Beijo de Elis Regina, pieces in Greece, notably at the Athens Theatre and Dixon’s Dance Academy in their normal function, for example, in a Kapia Mana Anastenazi de Vaggelis Perpiniadis, & Epidaurus Festival. The Greek crisis led Extraits du film 12 Angry Men (1957) Photos Miltos the United States. He recently won a prize long sequence where Euripides Laskaridis his company and output to evolve, and Athanasiou from the Pina Bausch foundation for young plays a gentrified woman in her evening Production Osmosis Performing Arts Co prompted him to develop ties internatio- choreographers. gown, pearls and blond wig, trying to deli- Coproduction Athens & Epidaurous Festival (Grèce) nally. His work has been performed at the In Euripides Laskaridis’s solo, Relic, he ver a ludicrous speech at some caricature Aerowaves Platform, New York City Fringe, gives new expression to his taste for the of a ceremony. She is all dressed up but Judson Church, Dixon Place, and the 11th ridiculous and for transformation. Dressed falls flat on her face. We grasp nothing of MAISON DE LA DANSE, STUDIO Biennale of European & Mediterranean Tue 27, 7pm | Wed 28, 9.30pm like a giant grotesque doll straight from the flood of words, other than the absur- Artists. the works of Hans Bellmer, he starts the dity of the situation. [PRICE] Laskaridis explores the imaginary and the performance sitting on a chair. With a flick The entire show is built on such a collap- Single price €14 absurd. In his artistic investigations, bodily of a high-heeled shoe, he manipulates the sing structure. In this tightly-paced solo, transformation, difference and ridicule sound and light of the show. The tone is are inexhaustible creative drivers. Each Euripides Laskaridis destroys any remnant [ON TOUR] set as other ordinary objects – a green of seriousness or social convention. The 12 June, TERCERA SETMANA Festival, Valence (Spain) production is an occasion for spectators plant, a microphone, a rug – heighten performer doesn’t hide behind any form of 29-30 Aug, Théâter Spektakel, Zurich (Switzerland) to experiment with their acceptance of the the impression of strange familiarity. artifice and takes evident pleasure in exhi- 1 Sept, Flota, Ljubljana (Slovenia) unknown and the incongruous. On a dimly lit stage, the performer goes biting his Do-It-Yourself aesthetic. Playing about daily activities – watering flowers, with parody, cabaret, vaudeville and slaps- lazing on a chair – and then launches into tick, Relic mocks our desire to exist at any a choreographed number. A series of cost. M.F. actions performed in a constrained space VILLEURBANNE VILLEURBANNE Jonah

Chorégraphie (création de Rules Of work with Daniel. The signature we have Jonah Bokaer The Game à Dallas, BIOGRAPHY developed over ten years together has Texas avec l’Orchestre A choreographer and maker of films, instal- [RECESS] DUET Symphonique de Dallas, evolved constantly, and I think that Rules lations and dance performances, Jonah 2010 [RUN TIME] 20MIN USA), BAM Next Bokaer Of The Game is the culmination of these Danseurs J. Bokaer, Wave Festival (USA), Bokaer is a protean artist. He studied years of exploration. J. McGinn Musique et Krannert Center dance in the United States at Cornell You’ve followed a double career path S. Gasparatos / University of Illinois University, then graduated from the Univer- enregistrements Champagne-Urbana – as a dancer and choreographer of sity of North Carolina School of the Arts. Scénographie (USA) Jonah Bokaer course, but also as a multimedia artist… D. Arsham (représenté Choreography Aged 18, he became the youngest-ever To me, choreography is primarily a par la Galerie Perrotin) est soutenue par Ford dancer recruited by Merce Cunningham’s visual art. Movement and rhythm are two Création Foundation (USA), company. In parallel to his dancing career, elements that you find in visual art but also costumes R. Chai Andrew W. Mellon he studied multimedia and the visual arts. Création lumières Foundation (USA), in architecture. My approach to dance is These cross-disciplinary courses enabled A. Copp Jerome Robbins strongly influenced by new technology, Foundation (USA), him to develop a singular approach to certainly. But these three pieces should be [WHY PATTERNS] National Endowment choreography, in which the body is in considered as an approach to space, and PIECE FOR 4 DANCERS for the Arts (USA), New constant dialogue with new technology. York State Council on to the ratio between time and space. NEW WORK 2011 Continuing the modern dance tradition [RUN TIME] 30MIN the Arts (USA), New You’ve set up several organisations Danseurs L. Gutierrez, York City Department kindled by Merce Cunningham, he often in New York that support cross- J. McGinn, S. Pataki, of Cultural Affairs (USA), collaborates with visual artists. Jonah disciplinary and experimental projects: S. Procopio Musique Fox Samuels Foundation Bokaer writes pieces with a strong visual- Chez Bushwick and the CPR - Center M. Feldman Why (USA), Harkness Dance art component, in which virtuoso bodies Patterns (1978), Foundation (USA), Mertz for Performance Research, which you speak a gestural language of great preci- avec musique Gilmore Foundation co-founded with John Jasperse… What additionnelle de ARP / (USA), et le Conseil sion. His creations feature at various Jonah Bokaer, RECESS ©Robert Benschop ©Robert RECESS Jonah Bokaer, role do these activities play in your A. Georgopoulos d’Administration de Chez dance festivals: the Attakalari Perfor- work? CatchWave (2011) Bushwick mance Biennale in India, the Rotterdamse 77 enregistrements Jonah Bokaer est Funding models in the United States are Schouwburg in the Netherlands, and the Scéno-graphie lauréat du John for all three of us. It’s the first time that fairly different from those you see in Jacob’s Pillow Dance Festival in the United RULES OF THE GAME Snarkitecture, D. Simon Guggenheim Pharrell has been approached for a dance Europe, and in France especially. In the Arsham, A. Mustonen Mémorial Fellowship States. In France, he has appeared at Les NEW WORK 2016 FRENCH PREMIERE project. This original score (arranged by United States, no artist has the extraordi- Création costumes (Chorégraphie, USA) ; Subsistances in Lyon, and in 2012 he took Three pieces by the American David Campbell) is a first for him, for us nary luxury of receiving subsidies or of the R. Chai Création lauréat du USArtists Prix part in the Sujets à Vif programme at the lumières A. Copp de la Ford Foundation choreographer Jonah Bockaer, former all, and for the audience too. And it’s the intermittent [self-employed arts worker] Avignon Festival. (Danse, USA) ; lauréat [RULES OF THE GAME] dancer with the Merce Cunningham first time a symphony orchestra has been regime. I’m primarily a choreographer, but I de la Civitella Ranieri A superb performer, Jonah Bokaer also PIECE FOR 8 DANCERS Dance Company, created in collaboration asked to perform a melodic pop line. At the also run a business, which is our livelihood in Foundation (Arts collaborates with many artists such as NEW WORK 2016 with the plastic artist Daniel Arsham and moment I’m often saying, “We are making America, and it’s in our profession – dance. Plastiques, Italy) ; pour John Jasperse (2004-2005), David Gordon [RUN TIME] 30MIN la saison 2016. the musician Pharell Williams! music history”. In my new generation in New York, it’s Danseurs A. Drake, (2005-2006), Deborah Hay (2005) and Tino Where are you up to with creating Rules kind of my role to be able to do both, and L. Gutierrez, J. Koroni, Sehgal (2008). Since 2007, he has also C. N. Lyons, J. McGinn, Rules Of The Game is a collaboration Of The Game? I have complementary abilities to imple- TNP, VILLEURBANNE – worked frequently as a choreographer for S. Pataki, S. Procopio, between yourself, Daniel Arsham and My choreographic explorations are based ment my projects, which I’ve been doing GRAND THÉÂTRE Robert Wilson. B. Rollo Musique Pharrell Wed 28, 8.30pm | Pharrell Williams, who has composed an on Pirandello’s stageplay Rules Of The for 14 years. It’s very rewarding to do Williams - partition Thu 29, 8.30pm | Fri 30, original score for the Dallas Symphony Game. I’ve got my dancers working on these two jobs in parallel, even though originale, enregistrement 8.30pm Orchestra… game-related themes but also combat it can sometimes be a bit tiring – I think de l’Orchestre The genesis of this project dates back and confrontation. I’ve written duets but it’s important to keep one foot in the Symphonique de [PRICES] C Dallas, arrangements to 2013, but more substantively to June also group dances and solos. Each act is economic reality of culture in America. Available in the et direction de David Maison de la Danse 2014, when Daniel Arsham and myself associated with a piece written by Pharrell Like in music, you sometimes need blanks Campbell Scénographie subscription worked together on an exhibition at the Williams. We’re right in the middle of our or silences. The times when I’m not crea- D. Arsham (représenté Full price €32 Galerie Perrotin in Paris. The exhibition explorations, and I think it’s a show that ting turn out to be very prolific later on. I par la Galerie Reduced price €28 Perrotin) Création was an installation by Daniel entitled The will mature when we go touring. created two art centres because I wanted Half price €16 costumes C. Stamp Future Is Always Now, in which I perfor- You’re presenting Why Patterns (2011), to do a good turn for the dance commu- Création lumières med a piece of dance in one of Daniel’s RECESS (2011) and Rules Of The Game nity in New York. Thanks to these places, A. Copp [ON TOUR] artworks, The Stage. This exhibition was (2016) on the same bill… we can now offer young artists research Production Jonah 14-17 Sept, Brisbane staged jointly with GIRLS, a group show Why Patterns and RECESS are often spaces – and also the chance to be seen Bokaer Choreography Festival (Australia) of all the gallery’s artists commissioned performed together, duets reflecting each by an audience. A wonderful international Coproduction Dallas 10-13 Nov, BAM – Symphony Orchestra Brooklyn Academy of by Pharrell Williams. We met in Los Ange- other. But this is the first time that we’ve team (from Greece, France, Korea, and PUBLIC PRESS CONFERENCE (USA), SOLUNA Music (United States) les during the 2015 Grammy Awards, and added them to a show of this scale. The the United States) assists me on all these Jonah Bokaer International Music SEE DANCERS STUDIO Tue. 27 11am Théâtre Nouvelle Génération – Decided to work together on a stage reason we’ve Decided to present them projects here in Brooklyn. I’m very proud and Arts Festival project that was unique in form. This is an either side of Rules Of The Game is that to have created these venues, and to have See p.9 Les Ateliers extremely stimulating and exciting project they are the two most iconic pieces of my generated this economy locally. M.F. VALENCE BRON LYON CLERMONT-FERRAND VILLEFRANCHE-SUR-SAÔNE VALENCE BRON LYON CLERMONT-FERRAND VILLEFRANCHE-SUR-SAÔNE AKRAM SOLO 2015 [RUN TIME] 50MIN BIOGRAPHY

Chorégraphie Akram Khan Akram Khan is a UK-born dancer of Danseurs D. Alamanos ou N. Ricchini Composition Bangladeshi descent. After training with KHAN musicale J. Pook Création lumières G. Hoare Récit Sri Pratap Pawar in kathak (the traditional imaginé par A. Khan, K. Naïr Écrit par A. Khan, S. dance of northern India), he was handed Buckmaster, K. Naïr Assistant à la chorégraphie J. his first role aged 13 in Mahâbhârata, Agudo Design visuel T. Yip Animation Y. Culture Création costumes K. Nakano Régie son et vidéo a piece by Peter Brook that made a big A. Stein Régie son S. Parr Conseillère costumes impression. From the 1990s onwards, he M. Trottmann Producteur technique S. Loonen (Arp mixed contemporary dance with this tradi- Theatre) Régisseur général E. Yetton Répétitrice tional art in Polaroid Feet (2001), Ronin A. Butler Régisseur plateau D. Sudron Séquence de la tête peinte conçue par A. Khan, D. Jalet Paroles (2003) and Third Catalogue (2005). During de Bleeding Soles écrites par L. Gazi the same period he studied at P.A.R.T.S., Chanteurs S. Alam, M. Pappenheim, J. Pook (voix / the Brussels school run by Anne Teresa De alto / piano), J. Schonfield, T. Tzarovska Keersmaeker. Production Akram Khan Company Coproduction Akram Khan quickly became a prominent Biennale de la danse de Lyon 2016, MOKO Dance (Royaume-Uni), Sadler’s Wells London (Royaume- figure on the global choreography scene, Uni), DanceEast (Royaume-Uni), Théâtre de la Ville notably when he wrote the duet zero Paris, Mercat de les Flors Barcelona (Espagne) et degrees (2005) with Sidi Larbi Cherkaoui. Stratford Circus Arts Centre (Royaume-Uni) Avec He also danced with Sylvie Guillem in le soutien de Arts Council England. La compagnie remercie l’équipe artistique de la production Sacred Monsters and Juliette Binoche in originale de DESH d’Akram Khan Company. the duet IN-I; and wrote Bahok (2008) for the National Ballet of China.

Akram Khan ©Richard Haughton Khan ©Richard Akram Taking a break from the stage, and erasing ESPACE ALBERT CAMUS, BRON frontiers between dance genres, Akram 79 Tue 27, 2.30pm [school] | Tue 27, 8.30pm Khan created most of the choreography CHOTTO DESH version, in 2011, Desh met with immediate MAISON DE LA DANSE for Kylie Minogue’s 2006 tour. In 2009 success around the world. Building on that, Fri 30, 7.30pm he conceived the kathak solo Gnosis for NEW WORK FRENCH PREMIERE he created a version for children aged [PRICES] Svapnagata, a festival of Indian dance and Akram Khan creates a masterful show 7+ and their families, with the help of the Adult €17 | Child €11 | School €6 [ages 7] music of which he is artistic director; the for young audiences, in a blend of story- theatre director Sue Buckmaster. Chotto solo received the South Bank Sky Arts telling, dance and video. Desh is a danced story which follows Dance Award in 2011. In 2012 he created [REBOUND] Born in 1974 in England, Akram Khan quickly an adult delving back into his childhood the choreography section of the London The Biennale across the Region established himself as a major choreo- memories. It explores the experiences of LUX, Valence | La Comédie de Clermont-Ferrand | Olympics’ opening ceremony. grapher on the international scene. He a child raised in the two radically different Théâtre de Villefranche See p.6 A great performer, he directed himself draws on his Bangladeshi origins to create societies of Bangladesh and Britain. in the autobiographical solo Desh (2011), original works, mixing the traditional Indian Beyond the coming-of-age story, it is an meaning “earth”, in which he goes back dance, Kathak, with his own contempo- immersive show mixing different registers to his roots. Torokaka (2014), created with rary style. In the 2000s, he produced such of dance, words, mime and video. It deftly Israel Galván, was the meeting of two acclaimed works as Kaash and Ma which plays with computer-generated images as dancers at the acme of their art, a joust paved the way for his international career. the dancer climbs to the treetops, plays between Indian and Spanish cultures. Khan He also collaborated with other famed with an elephant and butterflies, or sets recently staged Until the Lions, inspired by artists, including the choreographer Sidi sail on a magical ship. Akram Khan has an a passage in Karthika Naïr’s book which Larbi Cherkaoui for the duet Zero Degrees, unmatched talent for creating before our revisits key episodes of sacred Indian epic the star dancer Sylvie Guillem for Sacred very eyes a world full of marvels, tempting Mahâbhârata. Monsters in 2006, and the actress Juliette us to follow him on a fantastical journey. Binoche for a much-noted duet in 2008. A true choreographic gem, Chotto Desh His owes his spectacular rise to an will delight audiences of all ages with its exceptional choreographic and rhythmic demanding form of dance, sense of rhythm know-how, combined with an amazing and flights of fantasy. It is also a remarkable talent for story-telling. Making abundant philosophical tale, addressing with subtlety use of myths and philosophical tales, and humour difficult subjects such as life Akram Khan’s work always has a spiritual in a multicultural society and the choices dimension that seeks universality. This can forced on us as we grow up. Chotto Desh be seen in Chotto Desh, meaning “little is a true rite of passage. M.F. homeland” in Bengali. In its original solo Catherine VILLEURBANNE VILLEURBANNE

PIECE FOR 4 DANCERS 2014 [RUN TIME] 1HR10 BIOGRAPHY A Canadian-born choreographer and Gaudet Chorégraphie Catherine Gaudet Danseurs Dany Desjardins, researcher, Catherine Gaudet, earned a Francis Ducharme, Caroline master’s degree in contemporary dance Gravel, Annik Hamel at the University of Quebec at Montreal Musique Jacques Poulin-Denis (UQAM) and began her artistic career as Scénographie Max-Otto Fauteux Aide à la dramaturgie et aux a performer for choreographers Jean-Sé- répétitions Sophie Michaud bastien Lourdais, Marie Béland and Anne Création lumières Alexandre Thériault. Pilon-Guay Her own choreographic output began in Production LORGANISME Coproduction Festival 2004 with Bibi and Juju. She was selec- TransAmériques (Canada), ted with L’invasion du vide (2009) as one le Phénix Scène nationale of the five best choreographic shows of Valenciennes, Théâtre La the year by weekly magazine VOIR. She Chapelle (Canada) Résidences de is the recipient of numerous awards such création Centre Segal des Arts de la scène – Série Danse Danse as the 2010 Prix David-Kilburn bestowed (Canada), Circuit-Est Centre by the UQAM Foundation, and second Chorégraphique (Canada), prize at the Aarhus International Choreo- Théâtre La Chapelle (Canada), graphy Competition in Denmark. Although O Vertigo (Canada), Département de danse de L’UQAM (Canada) her pieces tour the world, Gaudet remains et Usine C (Canada) Avec le closely involved in the Montreal arts scene. soutien de Conseil des Arts et In 2012 she wrote Je suis un autre, staged

Catherine Gaudet ©Mathieu Doyon Catherine Gaudet des Lettres du Québec (Canada), at the Maison de la Dance in Lyon among Conseil des Arts du Canada et other venues. This piece explores the jour- 81 Conseil des Arts de Montréal (Canada) ney of thought, and reflects the torments of the human condition – subjects that AU SEIN DES PLUS her contemporaries, it takes a Decide- choreographer who chose four members feature near-constantly in her output. RAIDES VERTUS dly masterful turn. Her pieces explore from her “gang” for this work: Francis TNP, VILLEURBANNE – Catherine Gaudet’s approach is a quest the meanders of the human psyche and Ducharme, Dany Desjardins, Caroline PETIT THÉÂTRE for the truth of the body: she seeks to Wed 28, 7pm | Thu 29, 7pm FRENCH PREMIERE the repercussions caused by tensions Gravel and Annik Hamel. highlight the traces of the unconscious, A body torn between impulse and social between instinct and social conventions. “We arrive at a state where we lose faith, [PRICES] D and invites audiences to see the beauty Available in the Maison de la conventions. Neuroses as a backdrop for The power of these works stems from her in the broad sense of the term. What we of flaws in a constrained body. Her work Danse subscription choreographic creation. ability to weave a dramaturgy from the sole see in Les plus raides vertus resembles Full price €25 gives rise to a singular and expressive After a first appearance at Maison de la movement of the body, as if it were not evil. The beast is cut loose, but it is not Reduced price €22 physicality which operates in strange, even Danse in 2013 with her duet Je suis un the dancers controlling the dance but the unequivocal and not without beauty. It Half price €12.50 surreal atmospheres. Her choreographic autre, Catherine Gaudet is back in Lyon other way around. comes in many shades: fear, need for signature is precise lines alternated with with a new show entitled Au sein des In Au sein des plus raides vertus, we solace, self-esteem, extreme egotism. brusque movements. These artistic ambi- [ON TOUR] plus raides vertus, created in 2014. On the find impulsive movements serving as the Though we May wish for moral uplift, we tions are reflected in her piece for young August, Festival Les Brigittines, Montreal artistic scene, Catherine Gaudet framework for the choreography, compo- are dragged down to earth and into the Brussels (Belgium) people, Alex Lalune (2007), which sheds stands alongside choreographers such as sing with rhythm and space. Scratching, abyss.” Catherine Gaudet researched light on the problems of communicating in Frédérick Gravel and Dave St-Pierre who crawling, sniffing each other or petting religious sources before creating this the world of childhood. have shaken up the boundaries of choreo- like a dog: this is the grammar of gestures piece, which is especially noticeable in the graphy. In just a few years, a generation that Catherine Gaudet has chosen for the soundtrack of the show which revisits and of Montreal artists has taken to the world show. “I’m interested in what lurks below distorts prayers such as Hail Mary. This is stage, bringing their brand of unbridled the surface of conventions,” she explains. how the choreographer gives shape to the creations, incorporating material from the “There is a dislocation between what we struggle of impulse versus the still very- PUBLIC PRESS CONFERENCE theatre and performance art. are and what we would like to be, the cracks present constraints of Judaeo-Christian Catherine Gaudet This energy can be found in the works that reveal the beast. I turn my magnifying mores. M.F. Tue. 27 11am Théâtre Nouvelle Génération – of Catherine Gaudet but, unlike some of glass on non-verbal language,” says the Les Ateliers LYON LYON

EXHIBIT JAN FABRE – STIGMATA – ACTIONS & PERFORMANCES 1976-2016 POCKEMON CREW 30 SEPT 2016 - 15 JAN 2017 THE FORSYTHE COMPANY LYON MUSEUM OF CONTEMPORARY ART BALLET PRELJOCAJ MORE INFO ON MAC-LYON.COM THE SAXONZ Jan Fabre THU 29 SEPT POUR LE VERNISSAGE DE L'EXPOSITION FLOOR ON FIRE opportunity for audiences to discover FRENCH PREMIERE a great variety of styles in a fun atmosphere. Different types of audiences come Watch out! Event ahead! Some of the together and get to know each other world’s best neoclassic, contemporary during the event, in a clear demonstra- and hip hop dancers will gather for an tion that dance can unite people of very 83 extraordinary battle, to the delight of different backgrounds around a moment of audiences. artistic sharing, far removed from the usual Floor on Fire - Battle of Styles is a unique aesthetic rifts. and exciting experience. The battle For the event in Lyon, Battle of Styles - Battle of Styles ©Christoph Seidler Battle of Styles ©Christoph

Portrait de Jan Fabre, photo Lieven Herreman ©Angelos bvba Herreman Lieven photo de Jan Fabre, Portrait concept is at the heart of break dance Floor on Fire will bring in four of the best and hip hop culture. It is a competition dance companies in their own category where dancers challenge each other, in and each “crew” will have four dancers. BATTLE FOR 16 DANCERS programme for Thursday, 29 September at SOLO a non-violent spirit of rivalry. Individually The Saxonz company co-founded Floor 2015 [RUN TIME] 2HR PERFORMANCE NEW WORK 2016 Lyon’s cycling track in Tête d’Or Park. The or in groups, the dancers demonstrate NEW WORK 2016 on Fire - Battle of Styles and has won Avec 4 danseurs des performance will be filmed and made into Performeur Jan Fabre their talent in front of an audience and a the BOTY twice, making them the best- Pockemon Crew, 4 An attempt at not beating the world hour a video installation as part of the Flemish panel of judges. These events have earned known German hip hop group. They are danseurs du Ballet Preljocaj, 4 danseurs record set by Eddy Merckx in Mexico City artist’s most recent creation for an exhibit. growing national and international acclaim, noted for their creativity and their ability to VÉLODROME GEORGES des Saxonz et 4 anciens in 1972 (or how to stay a dwarf in a land In 2004, the Lyon Museum of Contemporary with thousands of spectators at the annual invent new moves in their response to the PRÉVERAL - PARC DE LA danseurs de la Forsythe of giants). Art showed all of Jan Fabre’s films and TÊTE D’OR, LYON 6 Battle of the Year (BOTY). dancers of other styles. Company Musique DJ In this new performance, Jan Fabre pays has some 17 of his single and multi- Thu 29, Schedule In Floor on Fire, created by the HELLERAU Ballet Preljocaj, created by Angelin Prel- KidCut Scénographie tribute to Belgian cyclist Eddy Merckx. screen works in its collection. In 2016, the available from 1 July on European Centre for the Arts in Dresden, jocaj, has 27 permanent dancers in Tobias Blasberg Création lumières Falk Dittrich The artist gets in the starting block, with museum’s exhibit JAN FABRE – STIGMATA biennaledeladanse.com the battle brings together a great variety contemporary and neoclassic styles. Avec le soutien du a grip on the handlebars and toe-clips in – Actions & Performances 1976-2016, [PRICES] of dance styles – breakdance, contem- Angelin Preljocaj has created some 40 Goethe-Institut place, as he makes a run at not beating showing from 30 September 2016 to 15 Free porary and neoclassic dance – in mixed works, seven of which are in the repertory the hour record set by Merckx in Mexico January 2017, will take visitors on a journey contests in front of an audience and a jury of Opéra National de Paris. Production HELLERAU - Europäosches Zentrum City in 1972. Saluting the talent of the man through 40 years of the artist’s creations of top figures in the dance world. It is not Established in 2005 by William Forsythe des Künste Dresden nicknamed The Cannibal because of his (drawings, photos, costumes, models, a matter of Deciding if one dance style is after he left Frankfurt Ballet, the Forsythe Coproduction The insatiable appetite for victories, Jan Fabre films...), from his earliest performances and more interesting than another, but rather Company has welcomed some of the Saxonz Avec le soutien allows himself to be caught and devoured actions to today. to choose the group that will win the world’s greatest contemporary dancers. de Kulturstiftung des by the beauty of failure. Such is the audience’s favour with its mix of audacity, Four of his former dancers have put Freistaates Sachsen humour, spontaneity and creativity. together a crew for Battle of Styles - Floor At each presentation, Battle of Styles on Fire. PALAIS DES SPORTS - Floor on Fire, gives rise to incredible Hailing from Lyon, the Pockemon Crew are DE LYON improvisations and unexpected collabo- among the most successful of all hip hop Fri 30, 8.30pm

rations among different styles of dance. companies, with three world championships, [PRICE] The only rule imposed on the dancers is two French championships and numerous Single price €20 to not touch each other. And, as in hip hop other titles. Floor on Fire - Battle of Styles battles, it is important to respect one’s is lining up to be one of the biggest opponents. Aggression is not tolerated. events ever and unlike any other. M.F. Battle of Styles - Floor on Fire is a unique between the heroine and herloved ones. through avisionoftheintimate connection the lightand shadows runlike threads freedom. With justascreen asscenery, about lineage,heritage, courage and Juliet who questions andchallengesideas dress and eating pizza. A 21st-century student withgreen eyes,wearing ashort tragedy. A15-year-old Juliet, ahighschool peare depicted herinhismostfamous Juliet mighthave beenlike before Shakes- A communityofartists,imaginingwhat 21st-century Juliet. grapher, to give bodyandvoice to this Navarro, author,andMarionLévy, choreo- Joachim Olaya,videographer, Mariette Piers Faccini, composerandmusician, project: OlivierModol,lightingdesigner, boration. Five artistsworking onthesame Et Juliette bringsartiststogether- incolla young children thatwillalsodelightadults, she talks and dances. A visual poem for Wearing jeansandreading magazines, secret life, from birth to adolescence. rary Juliet whospeaksto usofherprivate, Juliet, withoutherRomeo. Acontempo - by themarvellous MarionLévy. comes to lifebefore oureyes,embodied met Romeo, theonewe imagineandwho Juliet; theJuliet asshewas before she revisited byfive artists. Theunknown The story ofacontemporary Juliet, ET JULIETTE VÉNISSIEUX life andcourage. Atruedelight! and to theShakespearean qualityof her It isalsoatribute to Lévy’s grandmother and Helena(AMidsummerNight’sDream ). Lady Macbeth, Rosalind (AsYou Like It) ters from Shakespearean theatre: Juliet, puissantes, featuringfour femalecharac - Et Juliette ispartofaproject calledLes thing thatishappeningonthe screen. her fantasy life. The fantasy life is every- back andforth between her real lifeand ter asiftheywere inhermind,swinging amorous. The audience sees the charac- out restrained andbecomes joyousand states, and we witnessdancingthatstarts dom to love, shegoesthrough various experiencing theexcitement andfree- new feelings,from questioning love to changes inherbodyto thediscovery of From herbirthto heradolescence.From her choicesanddesire to escape. bedroom, overwhelmed byherpassion, heroine inherprivate moments,inher of leadingherown revolution. We seethe one whoiscapableoftransgression, and An innocent,pure andfragile Juliet, but ful to serious,mischievous to methodical. desires. ThisJuliet goes from beingglee- with theebbandflow ofhermoodsand Juliet, trueto life,appears anddisappears a few dancesteps andayouthfulvoice, unfamiliar character. With a rustic dress, Et Juliette explores afamous butultimately

Marion

Marion Lévy ©Joachim Olaya Lévy G.V-P. audience into herdreamlike world. creates lively choreography, invitingthe and Yolande Zauberman.MarionLévy Victor Gauthier-Martin, Jean-PaulSalomé film makers suchasChristian Schiaretti, she hascollaborated withdirectors and ( Juliet), Rosalind (AsYou Like It)andHelena Macbeth (Macbeth), Juliet (Romeo and fates offemalecharacters suchasLady form. show aboutsleepinevery shapeand worlds, begun in 2005 with En somme, a She continuedonherquestfor imaginary naive ofthefairy tale TheThree LittlePigs. hood, withavisionthatwas anythingbut in whichsheexplored theworld ofchild- her pieceDansleventre duloup(2012), (2009). Theimagewas not unrelated to tricity, onthecuttingedgeoftechnology Fabrice Melquiot, shebecame MissElec- Josephine Baker, andthenDuophonie.For first created Bakerfix Arthur HandthenMichaëlLévinas, she these disciplines.Withthemusicians Over thepastDecade,shehasintertwined choreography, theatre, videos,andmore. explores movement withoutboundaries,in to becomeachoreographer herself. She Marion Lévy learnedpragmatism, goingon Didascalie, in1997.From thisexperience, Rosas, before creating herown troupe, 1989 to 1996,shedancedfor Compagnie ney: AnneTeresa DeKeersmaker. From dance playedakey role inherartisticjour- Découflé. Amajorfigure incontemporary chon, MichèleAnneDeMeyandPhilippe partnerships were withClaudeBruma- to 1989, Marion Lévy’s first choreographic dance centre (CNDC)inAngers from 1987 Trained atthenationalcontemporary BIOGRAPHY A MidsummerNight’sDream). Additionally, Les Puissantes (2015) addresses the (2000), atribute to VÉNISSIEUX Narbonne. Scène nationaleet auThéâtre Scènenationalede Marion Lévy estartiste associéeauxScènesduJura Combréas et sonéquipe Maguelone des studiosLabet leThéâtre deVilleneuve-lès- Villette, LaMénageriedeverre (Paris)danslecadre Scènes duJura Scènenationale,Théâtre Paris- Centre culturel PabloPicassoHomécourt,Les de laBiennaledanseenLorraine Coproduction Magnanerie Production Didascalie-accompagnementLa musicale LéoNivot Navarro musicale Piers Faccini Textes originauxMariette Olaya Collaboration artistique et création vidéoJoachim Chorégraphie MarionLévy 2015 Sat 1 18-19 Oct,LaRampe, Échirolles 3-4 May,LeDÔME, Albertville 15-18 Mar,Théâtre d’Angoulême,Scènenationale 21-22 Feb,Théâtre deVilliers-le-Bel 8-9 Feb, LeCuvier,CDCd’Aquitaine Cherbourg-Octeville 18-21 Jan,LeTrident, Scènenationalede 7-16 Dec,LeThéâtre, ScènenationaledeNarbonne 1-4 Dec,Bonlieu,Scènenationaled’Annecy Dole 9-10 Nov, LesScènesduJura, Scènenationalede Lons-Le-Saunier 2-3 Nov, LesScènesduJura, Scènenationalede TOUR][ON Adult €10|Child€6 [PRICES] THÉÂTRE DE VÉNISSIEUX SOLO

st [RUN TIME] 45MIN APPROX.

Oct,3pm Lumières et régie OlivierModolCréation

Costume HannaSjödinCollaboration Remerciements Création àHomécourtdanslecadre

particuliers àMartine

85 FAMI SCHO LIES OLS

SHOWS MOMENTS TO SHARE SAT 24 SEPT PRIMARY AND LOWER UPPER SECONDARY AND The Biennale offers shows and sensory For ticket-holders the day of show, pre- [AGE 10 AND UP] SECONDARY APPRENTICES experiences to share as a family. Youth and post-show sessions School price €6 per pupil Half price for under-26s under age 26 pay half price, except for 1.30PM | SENSORY EXPERIENCE single-price shows. Before the show, an art and movement Each package includes learning sessions As part of a school programme, upper SUNDAY 18 SEPT workshop for the entire family! The gesture and documentary resources to assist tea- secondary pupils and apprentices can GROUPE ACROBATIQUE [AGE 7 AND UP] becomes form, the emotion becomes chers in their projects. Body workshops, attend evening performances. A selection DE TANGER 2.30PM | MIME TIME! image, and the drawing becomes depth. A sessions with choreographers and dan- of shows is posted on biennaledeladanse. HALKA | See p.22 Based on Étienne Decroux’s miming tech- performance of movements followed by a cers, and visual-art workshops will help com, in the “Schools” section. [AGES 9 AND UP] nique, the instructor will present the plastic arts workshop. pupils and teachers engage in exciting Thanks to support from the Rhône-Alpes fundamentals of mime: a way of thinking [RUN TIME] 1HR projects around the spectator experience. Regional Council, pupils can pay for their YAN DUYVENDAK with the body rather than the head! Open [PLACE] Théâtre Nouvelle Génération – TNG The packages are devised in concert show tickets with their M’ra culture card. 87 SOUND OF MUSIC | See p.24 [FREE] with registration at the ticket office for 1 child to all, this session is a fun way to practice with teachers when they book their show [AGES 12 AND UP] and 1 adult. Presented by Stéphanie Royer, plastic an art where every gesture tells a story! arts instructor. tickets. THIERRY MALANDAIN [RUN TIME] 1hr [PLACE] Le Radiant - Bellevue, VINCENT DUPONT LA BELLE ET LA BÊTE | See p.30 Caluire-et- Cuire [FREE] with registration at the 3PM | FAMILY SHOW! ticket office for 1 child and 1 adult. Presented by Eric STÉRÉOSCOPIA [AGES 12 AND UP] Stéréoscopia by Vincent Dupont Zobel, actor and director, in partnership with Arts [AGES 9 - 11] en Scène, Lyon. [RUN TIME] 40MIN See p.36 PATRICE THIBAUD Théâtre Nouvelle Génération – TNG Thu 22 Sept, 10am and 2.30pm FRANITO | See p.32 4PM | FAMILY SHOW! See p.36 [AGES 7 AND UP] Franito by Patrice Thibaud TUE 27 SEPT [AGE 9 AND UP] Workshop for teachers with the artists, Wed 14 Sept [RUN TIME] 1HR10 See p.32 COLLECTIF PETIT TRAVERS | Registration required 6.30PM | SPECTATOR WARM-UP DANS LES PLIS DU 5.30PM | A SNACK WITH FRANITO! | See p.34 Children and adults get into the mood of AKRAM KHAN PAYSAG E After the show, kids and adults can meet [AGES 9 AND UP] the show by practicing some moves. When CHOTTO DESH the artists and share a laugh over an after- they take their seats, they’ll have a special [AGES 7 - 10] noon snack and drink. VINCENT DUPONT appreciation for the dancers and choreo- Espace Albert Camus, Bron STÉRÉOSCOPIA | See p.38 [PLACE] Le Radiant - Bellevue, Caluire-et-Cuire graphy. Tue 27 Sept, 2.30pm [FREE] with registration at the ticket office [AGES 9 AND UP] See p.58 [RUN TIME] 1hr [PLACE] Espace Culturel Albert Camus. Bron Workshop for teachers with the artists, Wed 21 Sept DENIS PLASSARD [FREE] with registration at the ticket office for 1 child | Registration required A.H.C - ALBERTINE, and 1 adult. Presented by Anne Décoret-Ahiha, HECTOR ET CHARLES | See p.54 dance anthropologist. [AGES 10 AND UP] 8.30PM | FAMILY SHOW! AKRAM KHAN Chotto Desh by Akram Khan CHOTTO DESH | See p.78 [RUN TIME] 50MIN See p.58 [AGES 7 AND UP]

MARION LÉVY ET JULIETTE | See p.84 [AGES 5 AND UP]

BATTLE OF STYLES FLOOR ON FIRE | See p.83 [AGES 7 AND UP] CELEBRATING AMATEUR SAT 17 SEPT THE RITE STUDIO

Come with the family to enjoy this “Sacrée The Amateur Studio spotlights various FREE DANCE Journée” celebrating the union of music artistic experiments between amateurs and dance! and professionals. It is a laboratory of CLASSES FOR ALL! 14-28 Sept, 6pm Created by Vaslav Nijinski at the amateur practice to let you “live” the Centre Commercial La Part-Dieu shopping Champs-Élysées Theatre in 1913, to music Biennale and even to dance it! centre by Igor Stravinsky, The Rite of Spring (Le Novices or experienced enthusiasts, Sacre du Printemps) is still considered one passers-by, shoppers, parents, children… of the finest meetings of music and dance. STARTING AT 10AM 4 - 5PM CHILDREN’S BATTLE it’s time to dance! Come learn about diffe- To pay tribute to this masterpiece, we [MUSÉE DES CONFLUENCES] [AUDITORIUM OF THE LYON Sat 24 Sept, 2.30pm rent artistic practices and join in the fun of invite you to the Musée des Confluences Open visit of the exhibit Corps rebelles NATIONAL ORCHESTRA] Live on rhone-alpes.france3.fr dancing! to see videos of interpretations of The Rite The exhibit charts 100 years of the history The Rite of Spring workshop Watch this unique show live on the website of Spring by some of the great choreo- of contemporary dance. Several videos Dominique Genevois, former dancer for of France 3 Rhône-Alpes, with under- graphers of the 20th century. The visit show different versions of The Rite of Maurice Béjart, will hold a workshop open 15’s competing in a display of talent and PROGRAMME continues around the museum with several Spring which have marked the world of to all about this very special ballet. love of dance! For this third edition, the WED 14 SEPT pop-up performances by dancers-in-trai- dance. [FREE] booking at the ticket office 04 27 46 65 65 Dance Biennale has invited the members Classical dance, “Mégabarre” with Malan- ning and a professional musician. Then go [FREE] on the European Heritage Days weekend of the hip-hop dance company Dyptik to dain Ballet Biarritz listen to Stravinsky’s Rite of Spring played 6PM 89 cast an appreciative eye on this event by the Lyon National Orchestra (ONL), 2.30 - 4.30PM [AUDITORIUM OF THE LYON SAT 17 SEPT for youngsters. The jury assigned the conducted by Leonard Slatkin. After the [MUSÉE DES CONFLUENCES] NATIONAL ORCHESTRA] Rumba with Ludmila Merceron and Jorge tough task of selecting the winners will concert, the circus artist Yoann Bourgeois Pop-up performances Concert: The Rite of Spring Vaillant include: Ryad Fghani (artistic director of will give an impromptu poetic rendition. Four duets of four minutes each, where a Conducted by musical director Leonard Pockemon Crew), Samy (founder of Very WED 21 SEPT Come and join us! dancer-in-training and an ONL musician Slatkin. Bad Team), Dominique Hervieu (artistic Dancehall with CompagnieNSA will offer a dialogue between dance [TICKETS] +33(0)4 78 95 95 95 | auditorium-lyon.com director of the Lyon Dance Biennale). and music in unusual spaces around the SAT 24 SEPT After the Battle, the winners will perform at Hip-hop show with the winners of the museum. 7.15PM the Part-Dieu shopping centre so everyone [FREE] on the European Heritage Days weekend [AUDITORIUM PLAZA] Children’s Battle can enjoy this 100% hip-hop show! Performance by Yoann Bourgeois WED 28 SEPT Crews of three to eight children will compete in 2.30 - 4.30PM With the musicians of the ONL youth Hip-hop with Abdou N’gom / Cie Stylistik two age groups: under 12 and under 15. Organised [AUDITORIUM OF THE LYON orchestra. in partnership with France 3 TV, the Lyon Opera Centre Commercial La Part-Dieu, 17 rue du Docteur NATIONAL ORCHESTRA] [FREE] House, Centre Commercial La Part-Dieu and Dyptik. Bouchut Lyon 3 | Ground floor by the fountain [FREE] Video excerpts and open to all Produced by Maison de la Danse on the WANT TO PARTICIPATE? In partnership with theme of The Rite of Spring and presented during the Happy Days event at the Put together a crew of three to eight kids Auditorium of the Lyon National Orchestra. and one adult supervisor. [FREE] on the European Heritage Days weekend To register, send an email to battle@ labiennaledelyon.com for one of the age groups (under 12 or under 15). Send a 2’30” video of your hip-hop choreography for the jury to select finalists.

In partnership with

FRANCE 3 PRIZE VOTE FOR YOUR FAVOURITE CREW ON RHONE-ALPES.FRANCE3.FR STUDIO OF PERSPECTIVES

[“CIEL” PHOTO COMPETITION] [JOIN THE RUMBA TARANTELLA!] With Studio of Perspectives, we aim to REACH FOR THE SKY After the Défilé parade, join us on Place bring spectators unique experiences 9 JUNE-9 SEPT 2016 Bellecour to dance some simple steps directly related to the Biennale’s pro- Dance is often associated with a space for with 15,000 people! Dominique Hervieu and gramming and artists. Screenings, talks freedom. The Lyon Dance Biennale invites the Défilé choreographers have created with artists, conferences, workshops… you to play with that space and reach for a “Rumba Tarantella” to get everyone in a are all opportunities for spectators to the sky, like the people in the photos of festive mood for some great fun! deepen their knowledge and experiment Ryan McGinley. Take flight, dance, soar, Sun 18 Sept after the Défilé, Place Bellecour, Lyon with the movement arts in an enriching hop and jump... A lift, an upward energy, a [FREE] Open to all and enjoyable way. Learn the steps | biennaledeladanse.com piece of sky - and voilà! DANCERS STUDIO HOW TO PARTICIPATE [THE RUMBA TRAIL] On biennaledeladanse.com, starts Mon SHAR- 1 – Create your scene alone or in a group LISTEN, WATCH AND DANCE 26 Sept with the sky in the background (a low-angle Rumba dance workshop at Nuits de Dancers Studio gives the mic to great shot May be necessary!). Perform your Fourvière, Odéon Theatre dancers, along the lines of the American ING move and take one or more pictures. Sun 3 July, 11am Théâtre Gallo-Romain / Odéon [FREE] TV show Inside the Actors Studio, where 2 – Upload your images to the Biennale [OPEN RESIDENCIES] a host interviews cinema greats about website: biennaledeladanse.com, in the Concert, Rumba Night at Nuits de Fourvière, Artists open the doors to their rehearsal their career. Presented by Brigitte Lefèvre “Participate” section. Grand Théâtre spaces and invite the public to discover and Laurent Goumarre, Dancers Studio 3 – Vote for your favourite photo and get Sun 3 July, 9pm a stage in the preparations of a work in Théâtre Gallo-Romain / Grand Théâtre See p.20 will welcome four great figures of dance: your friends to vote, too! progress. Cristiana Morganti, Louise Lecavalier, 4 – The photo with the most votes will win Dance-conference on Congolese rumba With Collectif Petit Travers and Groupe Jonah Bokaer and Olivia Grandville. the people’s choice prize. by choreographer Fred Bendongué at Acrobatique de Tanger. 5 – A jury of professional photographers, Musée des Confluences. [FREE] booking required at ticket office 91 choreographers and journalists will select Thu 15 Sept, 8.30pm CONNECTED DANCE, Musée des Confluences / Grand auditorium [FREE] the 10 best images, which will be awarded [MEET THE ARTISTS] TRANSMEDIA DANCE Right after the performance, the artistic a prize. Introduction to rumba at Part-Dieu shop- Sat 24 Sept, all day at the UGC Ciné Cité You can also share your images on Instagram with team settles on the edge of the stage with ping centre, ground floor near the fountain Confluence the hashtag #ciel! and the tag @biennaledeladanse Sat 17 Sept, 5pm the audience for a Q&A session. The term “transmedia” is used these days to Centre commercial La Part-Dieu / Place de l’eau See show pages for dates. [FREE] describe new forms of audiovisual narration In partnership with embracing different formats (smartphones, [BACKSTAGE AT BALLET DE urban environment, performance halls…). [CHOREOGRAPHED BALL] L’OPÉRA DE LYON] These forms challenge our linear approach CIE PROPOS DENIS PLASSARD Just before presenting two new works, to content and involve more interaction Join the dance and have fun with friends or Ballet de l’Opéra will hold a workshop with the viewer/spectator. In combination family! Jazz, percussions, live DJ… Choreo- and a rehearsal open to the public. This with recent technological developments, grapher Denis Plassard invites you to join in will also be a rare opportunity to visit the they offer new ways of accessing content some off-beat choreographies and share Opera House and the rehearsal studios. in the performing arts. A day of discussion a unique experience for ages 10 to 90! A great way to see what goes on behind and interactive experiences will explore Fri 16 Sept, 8.30pm the scenes! Le Sémaphore, Irigny [Ticket price] 5€ the hybridisations of digital and dance. Sat 10 Sept, 12-5pm [BOOKINGS] +33(0)4 72 30 47 90 | The following week, the programme will Lyon Opera House [FREE] open to all [email protected] continue at Gaîté Lyrique (Paris) during the I love Transmedia event. [CHOREOGRAPHERS HAVE THEIR

UGC Ciné Cité Confluence, Confluence shopping SAY ] centre, 112 cours Charlemagne Lyon 2 At these open events before the premieres, [FREE] the artists unveil their creative approach and the distinctive features of the piece they’re staging at the Biennale, and field With the suppport In collaboration with questions from journalists and the public. See show pages for dates. Théâtre Nouvelle Génération – Les Ateliers [FREE] EXPERI- EXTEN- UNDERS- MENTING DING TANDING [MOVEMENT WORKSHOPS] [SCREENINGS - TALKS] [DANCE AT GADAGNE MUSEUMS] [VIDEO-CONFERENCES] A way to get out of your seat and into 24 HOUR PARTY PEOPLE BY In connection with the show A.H.C. - An event with images and commentary on the movement! To get a different take on MICHAEL WINTERBOTTOM, 2002 Albertine, Hector et Charles by Denis the world of dance in Belgium. By Olivier the show and a better understanding of Great Britain. 1hr52. English with French Plassard. During the European Heritage Chervin, head of conferences and training the aesthetic challenges, come practice subtitles Days weekend, meet Albertine, Hector and at Maison de la Danse. with the choreographer and dancers. Manchester, 4 June 1976: Anthony Wilson, Charles (the three puppets of the show) Wed 28 Sept, 6pm Maison de la Danse, Jacques Demy room With Jonah Bokaer, Thierry Malandain and a Granada TV presenter, attended a on the afternoon of Saturday 17 September Olivier Dubois. concert by the Sex Pistols. Deeply inspired in the courtyard of Gadagne Museums For dates, see p.76, 30 et 56 by this new music, he and some friends and join in some impromptu dances. The [NUMERIDANSE.TV] [FREE] for those with a ticket to the show | Booking Check out the international online library started an independent record company, three dancer/puppet masters give life at ticket office of dance videos: Lyon Biennale archive Factory Records, and quickly signed Ian to the puppets in boisterous solos amid videos, thematic studies on the arts of Curtis of Joy Division (later to become the crowd, accompanied by the rhythmic [SPECTATOR WARM-UP] movement, pantomime, dance and the New Order) and James and the Happy trances of the show’s vocalists. FOR ALESSANDRO SCIARRONI’S Mondays. This film about the rock scene in Sat 17 Sept, afternoon plastic arts, dance and music, and activist NEW PIECE Manchester at the end of the 1970s was a Musées Gadagne [FREE] info on artists. Spectators can take part in a warm-up +33(0)4 37 23 60 46 | gadagne.musees.lyon.fr source for Christian Rizzo’s latest creation just before the show to get them in the le syndrome ian. right frame of mind for the performance. Mon 19 Sept, 8pm, presented by Christian Rizzo [CHOREOGRAPHIC AUDIO TOUR] Through listening and movement, partici- See p.40 Comoedia Cinema [PRICE] €5 with a ticket DANCE AT THE MUSEUM pants refine their perceptions and perform to Christian Rizzo’s show | €8.80 / €6.80 presales at The Dance Biennale and Maison de la physical experiments based on important the cinema box office. Danse are joining with the Museum of Fine ideas from the piece they are about to Arts to present a choreographic guided see. The spectators then enter the audito- HAIR BY MILOS FORMAN, 1979 tour by Denis Plassard. Based on the idea rium more attuned to what they are about United States. 2hr. English with French of the show Suivez les instructions, the to see. Devised and led by Anne Déco- subtitles voice of Denis Plassard will guide visitors ret-Ahiha, dance anthropologist. Claude Bukowski, an Oklahoma farmer, through the exhibit rooms of the museum Sat 17 Sept, 6.30pm and Sun 18 Sept, 5pm Decides to visit New York before being sent on a dancing tour. Commentary on the Lyon Opera House [FREE] for those with a ticket to to Vietnam. In Central Park, he befriends a paintings is replaced by a series of fun and ALL ABOUT THE SHOW RESIDENCY the show | Booking at ticket office group of hippies. The encounter comple- simple instructions. Equipped with audio PRESENTATION OF QUDUS ONIKEKU tely changes his life. Hair, the musical by sets, adventurous visitors go through the [WORKSHOP “SENTIR LA FIBRE”] During this artistic residency, the public will Milos Forman, looks at society issues such tour at their own pace. The aim is to get A NEW WORK IN With Sharon Eskenazi, working from Yuval be able to see the artist at work and gain a 93 as the hippy movement and the war in visitors to dance without realising it, and at Pick’s Are friends electric? The workshop PROGRESS better understanding of Qudus Onikeku’s Vietnam. Don’t miss your chance to see the same time give them a new perspec- is based on the simple pleasure of dance A project by Antoine Defoort, Mathilde creative process. His research is based on this cult film (again)! tive on some of the art works. and discovery, offering an uncommon Maillard and Sébastien Vial testimonials gathered during workshops Wed 14 Sept, 7pm. Presented by Yan Duyvendak, Sat 24 Sept, 11am. with amateurs. The choreographer will approach to the piece, through movement. director of Sound of Music See p.26 Musée des Beaux-Arts [FREE] booking at the ticket If we take 10 wild geese and we put them Tue 6 and 13 Sept, 7-8.30pm Comoedia Cinema [PRICE] €5 with a ticket to Yan office | Launch of the audio tour [FREE], booking in a big room where they have never been, convey this to the audience and analyse CCNR, Rillieux-la-Pape [PRICE] €5 Duyvendak’s show | €8.80 / €6.80 presales at the starts 22 Aug Call +33(0)4 27 46 65 66. The audio and if this big room doesn’t accommodate excerpts from We almost forgot. As [BOOKING] +33(0)4 72 01 12 30 | [email protected] cinema box office. tour will then be available during regular opening their little habits or look anything like their always, this artist, who trained at the Natio- hours [PRICE] with museum admission +€1 natural habitat, here without sky, wind, lake nal Centre for Circus Arts (CNAC), blends [WORKSHOP ON RITE OF SPRING] RELÈVE, HISTOIRE D’UNE CRÉATION or meadow: we would no doubt be amazed his Yoruba culture with European culture, After a tour of the exhibit Corps rebelles, BY THIERRY DEMAIZIERE AND by their innate sense of organisation. circus with dance, music with storytelling take some time to enjoy a workshop on ALBAN TEURLAI, 2016 Now, if we take a different room, called – and all of it with great intelligence and Maurice Béjart’s Sacre du printemps. Sneak preview before 7 Sept release. a theatre, and a few human beings who sensitivity. Not to be missed. Dominique Genevois, dance professor France. 2hr. Tue 20 – Sun 25 Sept, 2-6pm Decide to create a series of coherent and at the CNSMD and former dancer of the Benjamin Millepied, French dancer and Musée des Confluences, room 13 meaningful events for 150 of their coun- piece, proposes some simple movements choreographer, was appointed Direc- [PRICE] Museum admission | museedesconfluences.fr terparts, asking themselves the essential See p.12 requiring no physical prowess, just to feel tor of Dance at the Paris Opera Ballet in question of the ergonomics of art: then it the earthly force of the music that gives November 2014. His youth and modern would come as no surprise that they take rhythm to life, symbolised in this piece by outlook, his culture and fame, were an interest in the wild geese. Béjart. Open to all. meant to breathe new life into this pres- The artists want to imagine the theatre as a Thu 19 Sept, 7-9pm tigious institution. Through his creative laboratory consisting of a large space and Musée des Confluences choices and work methods with the young [PRICE] Museum admission | museedesconfluences.fr simple actions to be performed. In their dancers of the corps de ballet, Benjamin Booking on +33(0)4 27 46 65 65 presentation of their work in progress, Millepied revolutionised the codes of clas- they will take stock of the process they are sical dance. Relève, Histoire d’une creation trying to perfect. They’ll tell us about the shows the creative process of his piece aims, the atmosphere, the spectator, and Clear, Loud, Bright, Forward, an epic piece their chance discoveries. In short, they’ll bursting with energy. Mon 5 Sept, 8pm. Presented by the filmmakers tell us all about the show. Thierry Demaiziere and Alban Teurlai, and Benjamin Wed 21 Sept, 5pm Millepied (to be confirmed) Comoedia cinema. Théâtre Nouvelle Génération - Les Ateliers [PRICE] €5 with a ticket to the Dance Biennale | [FREE] booking at the ticket office €8.80 / €6.80 presales at the cinema box office EVENTS FOR PROFESSIONALS

[PREAC DANCE AND MOVEMENT of practices, the literature and images, [CND INFORMATION DESK] [NATIONAL CONFERENCE] ARTS TRAINING COURSE] we will study the nature of the pleasure The professional resources department CONFERENCE ORGANISED WITH Intended for teachers, resource persons, elicited by dance. We will also consider of France’s National Centre for Dance THE NEWSPAPER LIBÉRATION artists involved in artistic and cultural the differences and similarities of the (CND) will be running a four-day informa- Ensemble! What new bonds can be forged education projects, institutional cultural pleasure felt by dancers and that of dance tion session during Focus Dance for all between artists and the general public, so partners, associations and conservato- spectators. The aim is to shed light on choreography stakeholders, on subjects that culture can “make” society? Focus Dance is an event designed for ries. The resource centre for artistic and the relations, contagions, asymmetries ranging from employment, training and Mon 19 Sept, all day. French and foreign professionals to offer cultural education (PREAC) in dance and and even antagonisms between these retraining, to law. You can also book an Université Catholique de Lyon, 10 Place des archives, them a snapshot of choreography in Lyon 2 [FREE] subject to availability See p.16 movement arts is holding its 3rd National experiences. We will also look at the history appointment. France today. Launched in 2008, Focus Seminar in connection with the Dance of awareness of the pleasure of dance and Wed 21 - Sat 24 Sept, 10.30am-12.30pm and 2.30- Dance has gained in stature, attracting [DANCE BIENNALE AT THE CCNR] Biennale. A three-day course alterna- the reasons for its prohibition and control, 5.30pm more than 600 professionals in 2014 from Café Danse, 3 rue Grôlée, Lyon 2 | Info and PIERRE PONTVIANNE, MOTIFS ting workshops, conferences, exhibits, or acceptance and prescription. Several over 40 countries around the world. registration: [email protected] | 01 41 83 98 39 In a virtuoso blend of power and sensi- debates, performances. methodological approaches are proposed: Focus Dance aims to expand its role as an tivity, the duet Motifs danced by Marthe Tue 27, Wed 28 and Thu 29 Sept analysis of movement, and philosophical, international platform for the circulation [MASTER CLASS AT THE CND] Krummenacher and Pierre Pontvianne CCNR, Rillieux-la-Pape | Information and registration historical, anthropological approaches. of dance works. Organised by the Lyon via PREAC coordinator Anouk Medard: anouk. WORKSHOPS AT THE LYON CND exposes two bodies, bound at the hands, Presentations May address the notion of Dance Biennale, Onda (French office for [email protected] | +33(0)4 72 78 18 18 For professionals in the field of choreogra- to the point of the impossible. pleasure from different perspectives, such contemporary performing arts circulation) phy, these sessions of practice and sharing Sat 24 and Sun 25 Sept as: an analysis of dance pieces, artistic and the Institut Français, the fifth edition of [STUDY DAY / LYON 2 UNIVERSITY] are devised to echo the pieces program- CCNR - Rillieux-la-Pape, 30 ter avenue Général processes questioning pleasure, and the Leclerc Focus Dance offers professionals a four- DANCE JUST FOR PLEASURE? THE med at the Dance Biennale, and are led expectations of dance spectators in terms [BOOKING] +33(0)4 72 01 12 30 | ccnr.fr | day programme with 9 shows, conferences, PLEASURE OF (WATCHING) DANCE: by various choreographers, dancers and of pleasure. Other possibilities include compagnieparc.com talks with artists and a museum exhibit on DISCOURSE AND DEVICES artists invited to Lyon on this occasion. studies of dance practices which give dance. For the fourth year, in conjunction with 14 - 30 Sept 2016 YUVAL PICK, PLY NEW EDIT primacy to the pleasure of the dancer as a CND Lyon | Info and registration: [email protected] | the programming of the Dance Biennale, Ply was born in 2014 of the meeting of criterion for success. Questions of cultural +33(0)4 72 56 10 70 | cnd.fr [THE FOCUS DANCE SHOWS] researchers and artists are invited to a Yuval Pick and Ashley Fure. In 2016, Yuval policies will also be raised (e.g. the use Collectif Petit Travers, Dans les plis du 95 study day on their favourite topic: dance. Pick Decided to revisit the piece by chan- of terms evoking viewer pleasure in the [WORK IN PROGRESS / HIP-HOP paysage This year, the theme is the pleasure of ging its dynamics, with a new cast and a promotion, circulation, and critique of a DANCE] Vincent Dupont, Stéréoscopia (watching) dance. In The Birth of Tragedy stronger relationship between the music show). IN PARTNERSHIP WITH THE SACD Bouchra Ouizguen, Corbeaux (1872), Nietzsche asserts that the history and dance. The result is a work of rare Fri 30 Sept, 9.30am - 5.30pm IADU (Initiatives d’Artistes en Danses Olivia Grandville, Combat de Carnaval et of art is the result of a struggle between artistic and human depth. Théâtre Nouvelle Génération – Les Ateliers Urbaines), a programme to support young Carême two urges, which he calls Apollonian and [FREE] Sat 24 Sept, noon hip hop dance creators, is teaming with the Christian Rizzo, le syndrome ian Dionysian. Works of art procure three Programme directed by Paule Gioffredi and Claudia CCNR, Rillieux-la-Pape [BOOKING] +33(0)4 72 01 12 30 Dance Biennale to present the work of the | [email protected] Rachid Ouramdane, TORDRE types of pleasure: the comforting pleasure Palazzolo, with the support of the research team Passages XX-XXI, the Culture Department of Lyon 2 artists it works with all year round. These Olivier Dubois, AUGURI of beautiful form, ordered and clear in University, and the Lyon Dance Biennale. “works in progress” are always a chance Daniel Linehan, dbddbb its contours and logic, associated with to discover budding choreographers Cecilia Bengolea & François Chaignaud, Apollo; the ecstatic jubilation of being part whose ideas reflect new approaches to NEW WORK 2016 of a whole and enjoying the abundance of the genre. nature, associated with drunken Dionysus; [This year’s programme] [FOCUS DANCE EVENTS] and the very rare rapture of the mysterious Solo, Marion Motin | Icones, Sandrine Presentations of projects, talks, ONDA combination of wisdom and bewitchment. Lescourant | Ici et là, Milène Duhameau events, opening of residencies, internatio- We could imagine a lecture on the history Each choreographer will present a nal exhibit on contemporary dance… of dance from the angle of this antagonism. 15-minute excerpt. For complete info, see the Focus Dance programme, High-brow dance, the fine dance of Wed 21 Sept, 2.30 - 4.30pm available at the professionals office and on royal ballet, appears to be the result of Maison de la Danse, studio [FREE] biennaledeladanse.com Apollonian domination, or the pleasure [BOOKING] [email protected] | of control and order, which shuns the 04 27 46 65 67 Focus Dance is organised by the Lyon Dance Biennale, Institut Français and Onda (French office exuberance of low-brow, popular dances. for artistic circulation) IADU was co-founded by the Fondation de France In contrast, free dance and modern dance charity and Parc de la Villette, and is supported by demand the liberation of bodily urges and France’s national agency for territorial equality, via refuse to subject them to political, social Acsé funding. iadu.fr and rational necessities. The question then is, where does the Apollonian/Dionysian conflict play out in contemporary dance? What type of pleasure do we mean by the pleasure of dance? Based on an analysis BIENNALE FRINGE [LAB’ART FORT DU BRUISSIN] [CHOREOGRAPHIC CROSSINGS [PERFORMANCES AT THE CALUIRE As part of a movement for greater “Intrusion / Balade” project by Compagnie ENTR’EN DANSE AT THE CROISEUR] WATER TREATMENT PLANT] connections between the urban hubs of Virevolt: evening of 9 July, Place des Arts As part of the artistic residency “Lab’Art Things cross and criss-cross at the venue A series of short impromptu choreogra- the Lyon region, cultural institutions and in Villefranche-sur-Saône. Compagnie au Fort du Bruissin” in Francheville, Compa- Le Croiseur, from 16 September to 1 October phic performances, to be enjoyed over the events are also building ties: the biennales Virevolt returns to Villefranche for a gnie Ando and its choreographer Davy during choreographic weekends including weekend. INTER of Design, Contemporary Art, Dance and second residency, 4 - 9 July. The artists Brun are organising a choreographic trail tango, rock, electro, contemporary, urban, Invited by Dominique Hervieu to create a Circus, and the Vienne Jazz Festival, to take inspiration from the local setting to at the Fort, in collaboration with the Lyon ballroom, cartes blanches, off-site shows, project during the European Heritage Days name just a few. The events listed below create an in-situ show called Balade. CNSMD (Conservatoire National Supérieur concerts, performances, exhibits, etc. weekend, Anne Martin and her students CITY are part of this sharing initiative, offering Sat 9 July Place des Arts, Villefranche-sur-Saône de Musique et de Danse), Odil Decq’s Insti- By order of appearance: Najib Guerfi, La at the Lyon CNSMD will give dance perfor- residents original and enriching cultural [INFO] virevolt.com tute for Innovation and Creative Strategies Piraterie, Tango de Soie, Union Tanguera, mances in the magnificent but little-known ECHOESopportunities. in Architecture at Confluence and photo- Aku Daku, Franck Laizet, Hélène Rocheteau historic building of the Caluire “Usine des [CAPI | TEMPSDANSE ] grapher Michel Cavalca. & Jean-Baptiste Geoffroy, Stylistik, Florie Eaux” water treatment plant. One perfor- [SAINT-ÉTIENNE MÉTROPOLE] CAPI is hosting shows in connection with Sun 25 Sept at 3pm. New work by Davy Brun for Mongrédien, Sayaka Hori, CNSMD, Aurélien mance will take place in the underground DesArts//DesCinés the Dance Biennale. There will also be a the student dancers of the Lyon CNSMD | 3.30pm Le Glaunec, Harris Gkekas, Alterfrekences, basin, with a woman singing in a row boat For the second time, DesArts//DesCinés Project by Odile Decq’s architecture students | 4pm screening of the film Les Rêves dansants Guy-ô-shine, Brahme, Raymond IV, as it glides between the 30 monumental is organising a Dance & Cinema event Photo exhibit by Michel Cavalca and a conference by Florence Poudru, Groovedge Records, Endlos... Alone, in pillars. The other one will take place in the in connection with the Dance Biennale, Fort du Bruissin, 5 ter Rue des Jonquilles, dance historian. Francheville pairs, gangs or groups, come celebrate engine room where a dozen dancers will comprising film screenings, workshops Thu 29 Sept - Tue 4 Oct everyone’s uniqueness. be accompanied by percussionists using and performances. For a different take on Théâtre du Vellein, Villefontaine [INFO] +33(0)4 74 80 [CHOREOGRAPHIC BRUNCH] Fri 16, Sat 17, Fri 23, Sat 24, Sun 25, Fri 30 Sept and the machines as their instruments. Thierry Malandain and Alain Platel, as well 71 85 | theatre.capi-agglo.fr Enjoy brunch with Toï Toï presen- Sat 1 Oct Sat 17 Sept, 12-6pm and Sun 18 Sept, 10am-6pm as emerging artists Jean-Camille Goimard Le Croiseur, 4 rue Croix-Barret Lyon 7 ting three choreograToï projects Usine des Eaux de Caluire, 2 avenue de Poumeyrol, and Jelena Kostić, in dance / image [VIENNE AREA] [BOOKINGS] +33(0)4 72 71 42 26 | contact@ Caluire-et-Cuire [FREE] exploring the unique relationship between lecroiseur.fr lecroiseur.fr creative residency. DO THE GUINCHE! the sensory body and the social body: Sun 25 Sept - Sat 1 Oct The Music and Dance Conservatory of [PERFORMANCE] Saint-Étienne and region [INFO] desartsdescines.org Chorescence – SONS RéSIDUELS (dance & [FUN INSTALLATION BY Vienne, the Vienne MJC (youth and culture La BF15 is presenting a group show called | +33(0)4 27 81 83 08 | [email protected] 97 song “reprisals”) centre), the Vallée de Gère Social Centre DANIEL LARRIEU] The Matinée, a performance consisting of Cie Kat’chaça – La cabine à danser (dance and Jazz à Vienne Festival invite everyone FLOW 612, ICE DREAM AND “representations” of intangible art works [VILLEFRANCHE BEAUJOLAIS & digital arts) to come guincher (dance) on Sunday 3 OTHERS INSTALLATIONS interpreted by Galerie, in residency at AREA] Cie Rose Piment – Homo Urbanus (dance in A fun and interactive installation, Danse July in the streets of Vienne as part of La BF15. Galerie’s mission is to promote the COMPAGNIE VIREVOLT (CIRCUS AND DANCE) the public space) des Couleurs was created for children the parade in preparation for the Lyon development of an intangible materiality: Rehearsal for the Défilé / groups from Sun 25 Sept from 11am (brunch) to 3.30pm by the choreographer Daniel Larrieu. A Dance Biennale. This festive stroll, entitled Toï Toï Le Zinc, 17-19 rue Marcel Dutartre, works that cannot be reduced to objects Vaulx-en-Velin, Sainte Foy-lès-Lyon and musical, choreographic and kinetic expe- Ensemble pour aller Guincher, combines Villeurbanne | www.toitoilezinc.fr or to the documentation of an action. Villefranche-sur- Saône. On 2 July, starting rience, Flow 612, Ice Dream and other all styles of dance, from baroque to hip Galerie represents artistic practices which at 4pm in Villefranche-sur-Saône, join in a installations are set in an imaginary jungle hop to contemporary dance! More than [FRANCO-GERMAN TRAINING May take the form of a dance, a conflict, a parade entitled “Ensemble pour s’élever” of flowers and leaves. Devised with the 200 dancers and 100 musicians have been COURSE] therapy or a joke. gathering 450 amateur participants. working on the project for a year, for one DANCE AT THE MUSEUM help of the children, who give their views Thu 22 Sept, 6-8pm Sat 2 July, starting at 4pm purpose: to create together a parade that Plateforme, a group of young French and on the “danceable” properties of spaces, La BF15, 11 quai de la Pêcherie, Lyon 1 [FREE] [INFO] Villefranche-sur-Saône [INFO] mediactif-biennale.fr rhythms, and the pleasure of movement, +33(0)4 78 28 66 63 | labf15.org brings us together. German creators, is organising a training Sun 3 July at 5pm the installation invites the young partici- course from 11 to 18 September in Lyon for Streets of Vienne [INFO] mjc-vienne.org | young performing artists living in France pants to observe the changing colours [email protected] | +33(0)4 74 53 21 96 or Germany. They will spend a week of the light on a vast printed screen. By exploring the Biennale and the interface dancing, they create sounds, and these between dance and museums. elements are picked up by 48 sensors in Sun 11 – Sun 18 Sept the floor. Designed for children ages six to [INFO] +33(0)4 78 62 89 42 | info@plateforme- 12, this unusual multimedia project can be plattform. org | plateforme-plattform.org enjoyed by all. Sat 10 – Tue 27 Sept [OPENING] Fri 9 Sept, 6pm Tue – Fri, 2-7pm, Sat, 4-8pm LIST OF ALL BIENNALE SHOWS LUX Scène nationale de Valence, 36 bd du général AROUND THE LYON REGION ON P.6 de Gaulle, Valence [BOOKINGS] +33(0)4 75 82 44 15 OR BIENNALEDELADANSE.COM Partners oftheCaféDanseinstallation [email protected] [RESERVATIONS RECOMMENDED] 0613664358| 3 rueGrôlée, Lyon2 2am (withfood service) Thu 22Sept -Sat24Sept, after-show openinguntil Mon -Sat,10am-7pm new gatheringplaceintheheartoftown. brunch onSaturdays! Comediscover this kids’ menusaswell. Anddon’tmissthe produce, withadifferent menu dailyand cooking that’scrafted from fresh market the dayto suityoururges. Onthemenu: Biennale, withavariety of fare throughout everyone for abreak allduringthe station. Theteam ofCaféCousuwelcomes at 3 RueGrôlée, nearCordeliers metro Café Danseistaking upnew quarters NEW PLACE DURING THE BIENNALE A MEETING SPOT ALL RESTAURANT POP-UP CAFÉ AND

danse café

practical information PARTNER VENUES PARTNERS &TEAM |P.104 BIOGRAPHY DOMINIQUE HERVIEU KEY FIGURES PRICES &PASS |P.101 CHOOSE &BOOK | P.100 | P.102 | P.105 | P.103 99 CHOOSE PRICES & BOOK & PASS

TICKETS ON SALE ADVANTAGES OF PRICES FROM THUR 9 JUNE, 12 NOON THE BIENNALE PASS! NEW REDUCED PRICE TOURIST OFFICE, Get special rates when you book three or more shows Job seekers, Maison de la Danse subscri- PLACE BELLECOUR, LYON 2 bers, groups of 10, holders of Lyon City BIENNALEDELADANSE.COM 25% DISCOUNT Card and musée des Confluences Pass 04 27 46 65 65 on all shows (except single-price shows / see list below) HALF PRICE For under-26s and RSA support recipients YOUTH PASS (UNDER 26) (except single-price shows) ONLINE Explore the Biennale programme through pictures, All shows €12 (except single-price shows) artist interviews and show descriptions at GROUP RATES www.biennaledeladanse.com. PREFERRED SEATING To obtain a group rate (schools, training From 9 June at 12 noon, and non-stop until 30 centres, leisure centres, social centres, September, buy tickets and Biennale Passes! REDUCED RATES specialised institutes, works councils on Maison de la Danse 2016/17 season and associations), contact the Groups AT THE TOURIST OFFICE NEW shows, on presentation of Biennale Pass desk: [email protected] or call Place Bellecour, Lyon 2 +33(0)4 27 46 65 66 This year, the Tourist Office is housing the Biennale REDUCED RATES ticket sales desk for the first time. Our ticketing team €6 instead of €9 for admission to the PROFESSIONAL RATES will advise and guide you, and there’s a tactile screen Musée des Confluences, on presentation for you to browse the programme in pictures. (For performing arts professionals From 9 June, Tue > Sat, 12 noon to 6pm of Biennale Pass only) To obtain the pro rate, register on From 29 August, Mon > Sat, 11am to 6pm biennaledeladanse.com and book your Closed from 24 July to 22 August (inclusive) SPECIAL OFFERS seats online. Advantages during the Biennale To facilitate your stay in Lyon and get 101 BY PHONE 04 27 46 65 65 information about events for professio- Get advice from our team during the opening hours nals, contact the Professionals desk: of the ticket sales desk at the Tourist Office. [email protected] or call +33(0)4 27 46 65 67 BY POST Fill in a booking form and send to this address (by 10 September): Biennale de la danse / Service billetterie / BP 1137 - 69203 Lyon cedex 01 PRICE LIST FROM OUR PARTNERS PASS PRICE Tickets available here: Fnac, Carrefour, Géant, CATEGO- REDUCED HALF PASS SECTION FULL PRICE FOR U, Intermarché, www.fnac.com, francebillet.com, RIES PRICE* PRICE PRICE carrefour.fr UNDER 26 Top price €44 €40 €22 LAST MINUTE A 2nd price €40 €36 €20 €33 €12 At performance venues 45 min before the show 3rd price €26 €22 €13 starts, subject to availability. Top price €40 €36 €20 B €30 €12 WE’LL POP ROUND! 2nd price €36 €33 €18 Gather a group of friends, family or colleagues (at Top price €32 €28 €16 least 10), and the Biennale team will come to your nd home to present the programme and help you 2 price €28 €24 €14 C €24 €12 choose – a convivial and arty session! 3rd price €22 €18 €11

th [Be warned!] During the festival, sales of same-day 4 price €15 €11 €7.50 tickets stop at 2pm at the Tourist Office, online and D €25 €22 €12.50 €19 €12 by phone. E €20 €17 €10 €15 €12 [Latecomers] Once the performance starts, access to numbered seats is no longer guaranteed. Out of SINGLE-PRICE SHOWS respect for the artist and audience, latecomers will be placed in seats at the rear or asked to wait for the Battle of Styles [€20] Euripides Laskaridis and David Wahl [€14] interval. They May be refused admission if restrictive Akram Khan and Vincent Dupont [ADULT €17] [CHILD €11] scenic installations are in use. Marion Lévy [ADULT €10] [CHILD €6] biography Key figures DOMINIQUE HERVIEU CHIEF EXECUTIVE, MAISON DE LA DANSE BUDGET ARTISTIC DIRECTOR, DANCE BIENNALE AMATEUR 2016 Born in 1962 in Coutances, Normandy, In 2001, she created Mosaïque… Danse(s) [CHOREOGRAPHIES] PRODUCTIONS PROJECTS TOTAL Dominique Hervieu has had a voracious d’une ville, a show for 180 amateur dan- Mosaïque danse(s) d’une ville (2001) Babelle heureuse (2002) appetite for all forms of movement since cers aged 15 to 85: a multicultural dancing SUBSIDIES 3 498 000 € 889 000 € 4 387 000 € Intervallo brio (2002) she was six years old. After her first love, portrait of the town of Creteil, which Le Corbeau et le renard (2003) Greater Lyon 1 995 000 € 586 000 € 2 581 000 € gymnastics, she elected dance as the new immersed its citizens in the creative pro- Les Paladins (2004 - opera) object of her passion: classical dance, cess. In 2002-2003, she devised two On danfe (2005) Central government 609 000 € 216 000 € 825 000 € at first, which she practised for a dozen pieces of her own: Intervallo Brio at the La Bossa Fataka de Rameau (2006) Porgy and Bess (2008 - opera) Regional council 834 000 € 87 000 € 921 000 € years, mainly with Michele Latini; and then Mettre en Scene festival, for two virtuoso Good Morning Mister Gershwin (2008) Other public supports 60 000 € 60 000 € contemporary dance, with Peter Goss, dancers, a grandfather and two little girls; Lalala Gershwin (2010) TICKET REVENUES AND SUPPORT Alwin Nicolais and Herve Diasnas. and a choreographed version of La Fon- Orphee (2010) 1 020 000 € 1 020 000 € FROM CULTURAL PARTNERS taine’s fable Le Corbeau et le renard. In La danse (2011) (for the family concert with the Orchestre National de Lyon) In 1981 she met Jose Montalvo, and with him 2006, alongside Jose Montalvo, she PRIVATE-SECTOR PARTNERSHIPS 1 200 000 € 80 000 € 1 280 000 € developed an original gestural language – co-created La Bossa Fataka de Rameau. [BIBLIOGRAPHY] fluid, rapid and precise – that would impart Again with Montalvo, she also choreo- Montalvo-Hervieu by Rosita Boisseau, Editions Textuel. TOTAL 6 687 000 € a singular style to their pieces. In 1988, graphed and directed two operas: Les 10 Ateliers sous la direction de Dominique Hervieu, their close artistic bond yielded Compa- Paladins, under the musical direction of choregraphe (in the “Les Ateliers de Thétre” gnie Montalvo-Hervieu, which performed William Christie of Les Arts Florissants at series). at the leading venues in France and wor- the Thétre du Chatelet in Paris (2004); [FILMS AND DOCUMENTARIES] ldwide. Ten years and five creations and George Gershwin’s Porgy and Bess at Tour de Babel – directed by Etienne Aussel later, the pair were appointed to head the Opera National de Lyon (2008). Filmed performance of Les Paladins directed by the National Choreography Centre (CCN) Francois Roussillon (best opera recording award - 17TH LE of Creteil and Val-de-Marne. From 2000 In 2006, Dominique Hervieu created L’art de Golden Prague - 2005) Babelle heureuse, directed by Olivier Caiozzi, onwards, Dominique Hervieu co-wrote all la rencontre - Cartes postales choregra- France 3. 103 EDITION DÉFILÉ the choreographies of Compagnie Montal- phiques for Les Francofffonies! festival in Orphee, directed by Olivier Caiozzi, France O. vo-Hervieu, one of the most popular and conjunction with four choreographers Tomorose, directed by Olivier Megaton, Arte. highly considered contemporary compa- from the Francophone world. This colla- Paradis, directed by Marie-Helene Rebois, Arte. Documentaries directed by Dominique Hervieu : 17 FESTIVAL DAYS 11TH EDITION nies in France and beyond. boration gave rise to 12 filmed duets, and Choreographic postcards for Les Francofffonies! 23 FRENCH NEW WORKS AND 5,000 PARTICIPANTS provided the material for a documentary Broadcast by TV 5 Monde. - La danse, l’art de la PREMIÈRES In 2000, they created Variation au Paradis for for Franco-German TV channel Arte. In rencontre. Broadcast by Arte. 12 GROUPS FROM THE REGION the opening ceremony of the International June 2008, Hervieu was appointed direc- Babel 8.3 : la construction, directed by Stéphane 12 BIENNALE CO-PRODUCTIONS Lebard, LGM télévision / France 3 RA 1 GUEST COMPANY LEADING THE Film Festival in Cannes. That year, Domi- tor of the Thétre National de Chaillot. 165 INDOOR PERFORMANCES PARADE nique Hervieu became artistic adviser to In 2010, she and Montalvo created their [PERFORMER AND ASSISTANT CHOREOGRAPHER] the Thétre National de Chaillot, and was most recent piece, Orphee. In July that Varianyon (1986) Pariation (1986) 43 GUEST COMPANIES 1 EUROPEAN GROUP appointed director of the venue’s youth year she initiated Imaginez Maintenant, a Podebal (1992) including 18 international companies, programme. She developed an original national event to promote young artists, in AND 250 REGIONAL ARTISTS Double trouble (1993) 25 french companies set of arts-education actions, drawing on conjunction with France’s High Commissio- Hollaka Hollala (1994) connections between dance works and ner for Youth and the Council for Artistic Philaou Thibaou (1995) 43 GUEST COMPANIES artistic practices on the one hand, and on Creation. In July 2011, she succeeded Guy La Gloire de Jerome A (1995) 18 foreign companies, 25 French Paradis (1997) those between the arts on the other hand, Darmet as chief executive of the Maison companies in partnership with the Musée du Louvre de la Danse in Lyon and as artistic director [AWARDS AND OTHER DISTINCTIONS] 12 COUNTRIES REPRESENTED and other Paris institutions; in 2004, she of the Lyon Dance Biennale. Concours de Nyon (1986), Danse a Paris (1986), Concours Choregraphique de Cagliari (1988) Belgium, Canada, France, Germany, devised a choreographic trail at the Louvre Female performance award at the Concours Honours Greece, Israel, Italy, Japan, Spain, which attracted 5,000 spectators. International de Danse de Paris, with La demoiselle Chevalier des Arts et des Lettres (2001) de Saint-Lo (1988) Switzerland, UK, USA Officier des Arts et Lettres (2009) Trophee “Createurs sans frontieres”, bestowed by Chevalier de la Legion d’Honneur (2011) 37 PRODUCTIONS the French Ministry of European and Foreign Affairs. Laurence Olivier Award for Le Jardin io io ito 2 PERFORMANCES IN ito (2001) PUBLIC SPACE Prix Choregraphie de la SACD for all of Montalvo and Hervieu’s œuvre (2006) 21 COMPANIES AT THE BIENNALE Grand Prix, Golden Prague; and First Prize, Baghdad FOR THE FIRST TIME International Film Festival (2007) 62 PERFORMANCE VENUES 20 in Lyon, 20 in Lyon metro area, 21 elsewhere in the region, 1 abroad (San Sebastián) 37 TOWNS ACROSS THE REGION including 16 first-time hosts of the Biennale PARTNERS

THE BIENNALE IS FUNDED BY ASSOCIATE PARTNERS FOUNDING PARTNER OF LE DÉFILÉ La Métropole de Lyon Le Groupe La Poste La Caisse des Dépôts La Ville de Lyon Deloitte / In Extenso PARTNER VENUES La Région Auvergne-Rhône-Alpes Egis OFFICIAL PARTNERS OF LE DÉFILÉ Le ministère de la Culture et de la Communication Toupargel Fondation EDF (DRAC Auvergne-Rhône-Alpes) Groupe Bernard Rue de la République Veolia GL events WITH SUPPORT FROM Le Club de la Biennale de Lyon AMPHITHÉÂTRE CITÉ LA RAMPE, ÉCHIROLLES RADIANT - BELLEVUE, WITH SUPPORT FROM THE REGION’S FABRIC La Ville de Villeurbanne Dalkia COMPANIES INTERNATIONALE CALUIRE-ET-CUIRE SYTRAL/TCL Eiffage L’ATRIUM, ESPACE CULTUREL Benaud Créations, Dutel Créations, ESF : European, L’Institut français Vatel AMPHITHÉÂTRE DES TROIS GAULES DE TASSIN-LA-DEMI-LUNE SALLE DE SPECTACLE Stretch Fabrics, GB Textiles, La Maison des Canuts, L’Office National de Diffusion Artistique LÉON CURRAL, SALLANCHES MEMBERS OF THE CLUB DE LA BIENNALE DE LYON Nuances Textiles, Piment Bleu, Richard, Satab ANCIENNE USINE DES EAUX, LE CROISEUR WITH THE SUPPORT OF THE CITIES Aéroports de Lyon Rubans, Soieries Cheval, Tex'Perfect, Vieille Usine CALUIRE-ET-CUIRE THÉÂTRE D’AURILLAC Bron, Champagne-au-Mont-d’Or, Chassieu, Décines, ATC groupe LE DÔME THÉÂTRE, ALBERTVILLE WITH ASSISTANCE FROM Francheville, Irigny, Oullins, Saint-Cyr-au-Mont-d’Or, Dragon Prod SYTRAL / TCL AUDITORIUM – ORCHESTRE THÉÂTRE DE BOURG-EN-BRESSE Sainte-Foy-lès-Lyon, Saint-Priest, Sathonay Village, Fancy Voyages L’ÉPICERIE MODERNE, FEYZIN Les services de la Ville de Lyon et de la Métropole NATIONAL DE LYON Vaulx-en-Velin, Vénissieux Florette THÉÂTRE DE LA CROIX-ROUSSE de Lyon it Partner LE POLARIS, CORBAS WITH THE SUPPORT OF THE URBAN COMMUNITIES Mission Insertion Culture d’ALLIES / Maison de CAFÉ DANSE Oluma THÉÂTRE DE GIVORS Saint-Étienne Métropole, CAPI, ViennAgglo, l’Emploi et de la Formation de Lyon LE SÉMAPHORE, IRIGNY PME Centrale CCNR, RILLIEUX-LA-PAPE Communauté de communes de l'Est Lyonnais, DIRECCTE Auvergne-Rhône-Alpes Rapid Copy THÉÂTRE DU PARC, Communauté d'agglomération Villefranche- Police Nationale LE TOBOGGAN, DÉCINES Sier CÉLESTINS, THÉÂTRE DE LYON ANDRÉZIEUX-BOUTHÉON Beaujolais-Saône, Communauté d’agglomération Police Municipale Ainsi que Paul et Geneviève Brichet de l’Ouest Rhodanien Services d’incendie et de secours du Rhône LES SUBSISTANCES Et Serge Darrieumerlou CENTRE COMMERCIAL LA PART-DIEU THÉÂTRE DE LA RENAISSANCE,

PRINCIPAL PARTNER THE INTERNATIONAL SECTION OF LE DÉFILÉ (TURIN, LIBRAIRIE MUSICALAME OULLINS WITH ASSISTANCE FROM CENTRE CULTUREL CHARLIE Groupe Partouche / BARCELONA) IS FUNDED BY Costadoro CHAPLIN, VAULX-EN-VELIN LUX, VALENCE THÉÂTRE DE VÉNISSIEUX Grand Casino de Lyon Le Pharaon La Région Auvergne-Rhône-Alpes Cotélac La Métropole de Lyon Duvel Moortgat France CHÂTEAU ROUGE, ANNEMASSE MAISON DE LA DANSE THÉÂTRE DU VELLEIN, OFFICIAL PARTNERS Torinodanza Fermob Caisse d’Epargne Rhône Alpes L’Institut Culturel Italien de Lyon VILLEFONTAINE Firce Capital CINÉMA LE COMOEDIA MAISON DES ARTS DU LÉMAN, Spie Batignolles Sud-Est Lyon Parc Auto AND IS SUPPORTED BY THONON-LES-BAINS THÉÂTRE GALLO-ROMAIN Serfim TIC CN D – LYON Les Nuits de Fourvière Uber MAISON DU PEUPLE, PIERRE-BÉNITE THÉÂTRE JEAN MARAIS, Le musée des Confluences CNSMD, LYON Le Conservatoire à Rayonnement Régional de Lyon LYON SAINT-FONS LE DÉFILÉ IS FUNDED BY MAC ESPACE ALBERT CAMUS, BRON 105 La Métropole de Lyon THÉÂTRE JEAN-VILAR, MC2: GRENOBLE La Préfecture du Rhône ESPACE CULTUREL ALPHA, BOURGOIN-JALLIEU Le Commissariat général à l'égalité des territoires CHARBONNIÈRES-LES-BAINS MUSÉE D’ART MODERNE ET Le ministère de la Culture et de la Communication THÉÂTRE NOUVELLE GÉNÉRATION CONTEMPORAIN DE SAINT-ÉTIENNE (DRAC Auvergne-Rhône-Alpes) ESPACE MALRAUX, CHAMBÉRY – LES ATELIERS La Région Auvergne-Rhône-Alpes MÉTROPOLE FORT DU BRUISSIN THÉÂTRE NOUVELLE GÉNÉRATION MUSÉE DES BEAUX-ARTS – TNG LA BF15 MUSÉE DES CONFLUENCES THÉÂTRE THÉO-ARGENCE, LA COLOC’ DE LA CULTURE, MUSÉE GADAGNE SAINT-PRIEST TEAM COURNON-D’AUVERGNE OPÉRA DE LYON TNP, VILLEURBANNE LA COMÉDIE DE CLERMONT- 17TH LYON DANCE BIENNALE DÉFILÉ DE LA BIENNALE DE LA DANSE Dominique Berolatti | Attachée de presse (Paris) Stéphanie Claudin et Xavier Phélut | Chefs de projet Jean-Paul Brunet et Laura Lamboglia | Attachés FERRAND OPÉRA DE SAINT-ÉTIENNE - THÉÂTRE DE VILLEFRANCHE ARTISTIC DIRECTOR | DOMINIQUE HERVIEU Yamina Aït-Yahia | Chargée du partenariat textile de presse (Lyon) GRAND THÉÂTRE MASSENET Assistés de Adèle Augé LA COMÉDIE DE SAINT-ÉTIENNE TOÏ TOÏ LE ZINC The Lyon Dance Biennale is staged by La Biennale SERVICE DES PUBLICS ET RELATIONS AVEC LES PALAIS DES SPORTS de Lyon, a non-profit body PROFESSIONNELS PARTENARIATS ET RELATIONS ENTREPRISES LA COMÉDIE DE VALENCE UNIVERSITÉ CATHOLIQUE DE LYON Élisabeth Tugaut | Directrice Cécile Claude | Responsable mécénat et relations CHIEF EXECUTIVE, LA BIENNALE DE LYON | SYLVIE PLACE BELLECOUR Nathalie Prangères et Marie Mulot | Chargées de entreprises LA MOUCHE, THÉÂTRE DE UGC CINÉ CITÉ CONFLUENCE BURGAT relation avec les publics, assistées de Kim-Lan Durieu Justine Belot | Responsable Club / partenariats SAINT-GENIS-LAVAL CHAIRMAN | BERNARD FAIVRE D’ARCIER Thibaud Schwann | Chargé des relations avec les en nature / événementiels entreprises VICE-CHAIRMAN | FRANÇOIS BORDRY professionnels, assisté de Mélissa Boudilmi Assistées de Léonor Troulard TREASURER | MICHÈLE DACLIN Prune Grillon | Responsable de la billetterie et DÉVELOPPEMENT de l’accueil Isabelle Huguet | Directrice Nora Mouzaoui | Chargée de billetterie ADMINISTRATION DIRECTION GÉNÉRALE TECHNIQUE Nathalie Wagner | Administratrice Toscane Angelier | Assistante de direction Dominique Hurtebize | Directeur Anne Villa | Administratrice de production & Responsable protocole Bertrand Buisson | Régisseur général Solange Barbry | Chef comptable Assistés de Alexandra Chopin, Julien Jay, Alexis Marie-France Deruaz | Responsable de paye DIRECTION ARTISTIQUE Bergeron, Frédérik Borrotzu Cathy Mornet-Crozet | Secrétaire comptable Maxime Fleuriot | Conseiller artistique Thierry Fortune, Marion Baraize | Régisseurs généraux Défilé PRODUCTION INFORMATIQUE Nadège Lieggi et Mickaël Jayet | Régisseurs Défilé Karine Desrues Liano Izzaguirre | Directrice de Norbert Paglia | Informaticien production COMMUNICATION SECRÉTARIAT | ACCUEIL ET STANDARD Anne-Mathilde Di Tomaso | Directrice du Barbara Loison | Directrice Amina Murer développement de la diffusion des productions Jack Vos | Responsable de communication en région Ingrid Levin | Chargée de communication ... AVEC LE RENFORT DE 150 AUTRES COÉQUIPIERS [VISUAL IDENTITY 17TH DANCE BIENNALE] Lucille Fradin | Attachée de production Réjane Letouche | Assistante de communication Design Marie Gatti | Photography ©Ryan McGinley, Courtesy of the artist and Team Gallery Assistées de Juliette Grauer Assistés de Cindy Gaubert [PROGRAMM] Design Marie Gatti - Execution Claire Rolland Marie Gatti | Graphiste, assistée de Josepha Juvin Show presentation texts - Gallia Valette-Pilenko & Maxime Fleuriot - Translations Paul Jones & Rebecca Reynaud