e 37 —FESTIVAL 37e —FESTIVAL MONTPELLIER Angelin Preljocaj / de l’Opéra de Lyon-Lucinda Childs-Emanuel Gat / Marie Chouinard

DANSE—23.06— MONTPELLIERe 37 Dutch—FESTIVAL National Ballet-Hans van Manen / Mathilde Monnier & Alan Pauls / Marlene Monteiro Freitas37e —FESTIVAL 07.07—2017 MONTPELLIERDANSE—23.06—Angelin Preljocaj / Ballet de l’Opéra de Lyon-Lucinda Childs-Emanuel Gat / Marie Chouinard 0800 600 740 www.montpellierdanse.com DANSE—23.06—Sharon Eyal & Gai Behar / Antonio Canales & Rafael Campallo & Segundo Falcón / Steven Cohen / MarceloMONTPELLIER Evelin 07.07—2017Dutch National Ballet-Hans van Manen / Mathilde Monnier & Alan Pauls / Marlene Monteiro Freitas 07.07—2017Fabrice Ramalingom / Nadia Beugré / Bernardo Montet / David Wampach / Ayelen Parolin / Daniel DANSE—23.06—Linehan 0800 600 740 www.montpellierdanse.com Sharon Eyal & Gai Behar / Antonio Canales & Rafael Campallo & Segundo Falcón / Steven Cohen / Marcelo Evelin 07.07—2017 Fabrice Ramalingom / Nadia Beugré / Bernardo Montet / David Wampach / Ayelen Parolin / Daniel Linehan

Press release P. 05 P. 06 P. 07 P. 08 A superlative creation Festival A mission of general interest « Let’s say ... colourful» Angelin Preljocaj by Philippe Saurel by Michel Miaille Interview with Les Pièces de New York and Bernard Travier Jean-Paul Montanari

P. 10 P. 12 P. 14 P. 16 Steven Cohen Antonio Canales Mathilde Monnier David Wampach put your heart under & Rafael Campallo & Alan Pauls ENDO your feet… and walk / à Elu Historias Flamencas El Baile de Sevilla

th

P. 18 P. 20 P. 22 P. 24 Ballet de l’Opéra de Ballet de l’Opéra de Lyon Emanuel Gat Fabrice Ramalingom Lyon— Lucinda Childs & Emanuel Gat Duos Nós, tupi or not tupi ? Dance TENWORKS (for Jean-Paul) — 37th FESTIVAL MONTPELLIER DANSE

JUNE 23 › JULY 7 2017 P. 26 P. 28 P. 30 P. 32 — Ayelen Parolin Marlene Monteiro Freitas Nadia Beugré Marie Chouinard Autóctonos Bacchantes - Prélude pour Tapis Rouge Soft virtuosity, still Director Jean-Paul Montanari une purge humid, on the edge — Cover : Marie Chouinard company, Soft virtuosity, still humid, on the edge Picture : Nicolas Ruel - Interpreter : Megan Walbaum P. 34 P. 36 P. 38 P. 42 Graphic Design : Les Produits de l’épicerie (Lille) Marcelo Evelin Daniel Linehan Dutch National Bernardo Montet Dança Doente Flood Ballet — Carne (Danse Malade) Hans van Manen

P. 44 P. 46 P. 48 P. 53 David Wampach Sharon Eyal Merce Cunningham Cinema BASCULE & Gai Behar A Half-century of creations, Love Chapter 2 translated into images

P. 57 P. 60 P. 61 P. 66 Montpellier Danse Master Classes Échec & Calendar at the Metropolis chef-d’œuvre

— Press Contact : Regional and International press Maïwenn Rebours : T : +33 4 67 60 06 12, [email protected] assisted by Natalia Matus : T : +33 4 67 60 06 10 National press Dominique Berolatti : T : +33 6 14 09 19 00, [email protected] Patrica Lopez : T : +33 6 11 36 16 03, [email protected] — Mediterranean Metropolis, Montpellier —

A SUPERLATIVE CREATION FESTIVAL

n the words of Maurice Béjart: and future, before they move on to per- Dance has nothing left to tell: but so form in some of the world’s most pres- much to say! tigious venues. Contemporary dance Iis continually shuffling the cards of is also a brand. A sort of, «Made In our reference codes; by reconsidering Montpellier». The art form is, and must the «ideal» body, and by questioning remain, central to the wide spectrum of an academic vision of «beauty» and cultural activities already on offer here. dominant aesthetic representations. Daring to step off the beaten track brings From the 23rd of June to the 7th of July «new» poetic references and rituals 2017; blending the biggest names in in its wake, illustrating the instability Philippe Saurel with fresh, new emerging and inconsistency of existence. President of Montpellier talent, Montpellier Danse Festival is set Mediterranean Metropolis, Contemporary dance performance is Montpellier Mayor to be the ultimate in artistic creation one of those «pointless» activities, taking and a major cultural highpoint with a spectators on a sensitive journey, on vibrant international reputation. Every an emotional voyage, to an imaginary year, the festival is a life lesson for all: place... stirring us, delighting us, unsettling us, — 5 feeding us with new sensations, wide- From the beginning of the 1980’s, dance ning our horizons and making us dance. has been a keystone in Montpellier’s cultural policy, greatly contributing to the city’s international image as a culture capital. Montpellier has been regularly graced by the presence of some of the world’s biggest names in dance and many seminal creations have been Bernard Travier Vice-président de Montpellier performed at the Festival or during the Méditerranée Métropole, Montpellier Danse Season. Délégué à la Culture Montpellier audiences are blessed with previews of the pioneering and avant- garde work of great artists of the present — Interview — — Editorial —

A MISSION OF « LET’S SAY ... MULTICOLOURED» GENERAL INTEREST Jean-Paul Montanari with Nathalie Becquet and Alexis Ruiz-Salmeron

he 37th Festival will showcase Brazilian dancers… Could this ontpellier Danse Festival never repeats itself: society re-uses the work of several generations momentum be representative of the is thirty-seven years old techniques and processes in a way of artists. From Lucinda Childs, future of dance? now, and with the wisdom which is always original. The current THans van Manen or Merce Cunningham Mof experience, has reached the age of trend to mix styles is not a nostalgic (in images) to the generation of Angelin It could be that after the identity-search reason. It is time to share the questions. throwback to a definitively closed door Preljocaj, Mathilde Monnier, Bernardo period, with wide reference made to on the past, but rather an expression Montet or Marie Chouinard, right up the concept of young French dance, The first question, of course, concerns of vibrant creativity. And finally, the to the young artistic generation, with an expression including the notions the art of contemporary dance. We third question concerns those who Daniel Linehan, Nadia Beugré, Marlene «young» but also «French», today’s are all aware today of the need to free govern, past and present. The danger Monteiro Freitas or Sharon Eyal. That cards are fortunately being shuffled ourselves of the shackles of the past in today is not the emergence of an sums it up: a sort of puzzle version of the again. When French dance emerged order to find a language, rhythm and authoritarian conception of art, where modern . Both wistful, Jean-Paul Montanari in the 1980’s, along with a severe lack means of expression which ring true in Michel Miaille the scope and modalities of the official with the recent parting of most of the Montpellier Danse and Agora, cité of work space, there was also a lack of today’s world. As in a Molière play, the Montpellier Danse President art form are dictated by the powers great masters of 20th century dance, internationale de la danse, Director establishment recognition… Today, time has come to stop trying to decide that be. The danger, on the contrary, and joyful, with the emergence of a new we’ve got it all! Needs and ways of which of dance, music or rhetoric is the most advanced is that of the emergence of a romantic vision of artistic generation of young artists launching their own artistic working have evolved. National choreographers have art form. We have maybe reached the point where the creation, developed through deprivation, and with for careers. Dance (1979) by Lucinda Childs is one the rare disappeared, and the modern-day versions radiate in 6 — combination of arts, from theatre to music, from dance sole guarantee, the genius of inspiration. In the light of works of post- still alive today; meaning, all directions, travel all over the place and work with — 7 to image, is bearer of an art form which is both complex this trend, in order to protect the artist, one feels forced superbly performed by a major company. Maybe it will everyone: there is a very clear globalisation process and holistic, interrogative and expressive; a living to leave the world of creation. This said, albeit obvious remain the signature piece of the American movement underway in dance. expression of society being built before our eyes. Far that art, and particularly dance, can only emerge in an it crowns. The presence of Dutch choreographer, Hans from simply treading in the footsteps of the past, the art environment of freedom, it is also vital to remember van Manen, clearly provides a different resonance. Hans Emanuel Gat has entitled one of his pieces TENWORKS of dance produces an image, which is simultaneously that we have to pay the bills! Society must recognize is a master of neo-classicism, and yet little known in (for Jean-Paul). This is symbolic, but also representative complex and contradictory, of community life. The that artistic creation fulfils a fully-fledged mission of France. Then there are the generations which followed, of the journey and dialogue of the last ten years? second question concerns society, which has today public service to the community. This doesn’t just mean with Angelin Preljocaj, Mathilde Monnier or Bernardo become both author and spectator of art. Today, it is supporting productions with «economic spinoff»: this Montet, and the up and coming ones, with Marlene fashionable to celebrate things of the past; things which means defining the role art, and especially Dance, Monteiro Freitas or Daniel Linehan. This edition goes full Emanuel Gat is a choreographer who works with dancers contemporary art has always sought to deconstruct should play in the building of social bonds, in the spectrum, exploring the world of dance both temporally from all over the world, himself moving constantly and and upturn. This cyclical vision of history, where the implementation of what is known as the social contract, through successive generations, and geographically, seamlessly between continents. Emanuel is too a «private» past is reinvented in the present through an apparent in the insane project of producing collective happiness showcasing artists from the four corners of the world... company, constantly running after funding, while the celebration of bygone virtue, is ancient rhetoric; there which, as Saint Just predicted in his time, is always «a The festival is in other words, multicoloured... Lyon Ballet company is a heavily-subsidised, top-ranking ain’t nothing new here! On the contrary, history new idea». public institution. The 37th edition explores dance through its influences Combining the two, throws out questions of a financial and institutions… nature. This could be a new way of practicing dance, of creating a new dance economy. Emanuel innovates Producing a programme of this type requires objectivity; every which way; exploring dance artistically, but also as if one had personally experienced the entire history of structurally and economically. It is also interesting to the art. What is certain is that one of my main concerns is look at things from this angle… When he choreographs, never to let go of the spectator’s hand, while maintaining he takes into account the material and economic sides. artistic expectations. Our mission of the last 30 years has There are very few of us with this enormous skill. been to take audiences on a voyage of artistic creation which is not easy to apprehend; to succeed, this requires To sum up, the festival is a kind of balancing act, where absolute trust. There are very few in Europe today ready the deep-rooted and great works of the contemporary to take such extraordinary creative risks… repertory rub shoulders with new creations by current artists representing the future of the art form. Another tendency this year is «combination»; combining companies and styles. Emanuel Gat combines his company with the Lyon Ballet company, Fabrice Ramalingom creates for Bruno Beltrão’s ANGELIN PRELJOCAJ rd and reinterpreted. I am impatient to discover how the dancers will embody this piece Fri. 23 & with their own identity. Angelin Preljocaj. AT MONTPELLIER DANSE th Sat. 24 June — creation — 2002 Hélikopter, Le Sacre du Printemps 8:00 pm ANGELIN PRELJOCAJ was born in the region, in France, and began studying 2004 « N » classical ballet before turning to contemporary dance, which he studied with Karin 2005 Les 4 saisons... Opéra Berlioz / Waehner. 2007 Annonciation, Centaures, Eldorado, Le Corum ANGELIN In 1980, he went to New York to work with Zena Rommett and Merce Cunningham, Empty moves parts I & II Rates after which he resumed his studies in France, there his teachers included the American 2008 Blanche Neige Agora 1st range 27€ choreographer Viola Farber and the French one Quentin Rouillier. He then joined 2009 Le funambule 2nd range 21€ 2011 Suivront mille ans de calme Reduced 1st range 30€ PRELJOCAJ Dominique Bagouet before founding his own company in December 1984. 2nd range 24€ Angelin Preljocaj collaborates regularly with other artists including Enki Bilal (Roméo et 2013 Les nuits st € Full 1 range 38 Juliette, 1990), Goran Vejvoda (Paysage après la bataille, 1997), Air (Near Life Experience, 2014 Empty moves (parts I, II & III) 2nd range 30€ The New York Pieces Unique rate: 2003), Granular Synthesis (“N”, 2004), Fabrice Hyber (Les 4 saisons…, 2005), Karlheinz 3rd range 16€ Stockhausen (Eldorado - Sonntags Abschied, 2007), Jean Paul Gaultier (Snow White, 4th range 10€ Spectral Evidence Agora J+ / + et - 5€ 2008), Constance Guisset (Le funambule, 2009), Claude Lévêque (Siddharta, 2010) and Laurent Garnier and Subodh Gupta (And then, one thousand years of peace, 2010), La Stravaganza Azzedine Alaïa and Natacha Atlas (The Nights, 2013)… Music: , Antonio Vivaldi His productions are now part of the repertoire of many companies, many of which also commission original production from him, notably La Scala of Milan, the New York City Ballet and the Paris National Opera Ballet. In early June 2013, Angelin Preljocaj flew to New York for two weeks to He has made short films (Le postier, Idées noires in 1991) and several full-length films, begin work on the new ballet with the Company (New York City Ballet), notably Un trait d’union and Annonciation (1992 and 2003), for which he was awarded which was created in fall 2013. the “Grand Prix du Film d’Art” in 2003, the “Vidéo-Danse” First Prize in 1992 and the For classically trained dancers, “It’s completely the opposite of what we do Prague Video Festival Prize in 1993. In 2009, he directed Snow White, featuring his every day,” “Angelin is very specific about the shapes he wants to see”a ballet own piece, and in 2011 he signed, for Air France, the commercial L’Envol, based on the

© Jörg Letz for eight dancers set to several pieces of music by John Cage. choreography of Le Parc. A friend recently gave him a CD of a vocal composition by Cage that the Since then he has collaborated on several films of his own choreographic work:Les choreographer had never heard before. “I always thought that I knew the Raboteurs with Cyril Collard (based on the painting by Gustave Caillebotte) in 1988, works of Cage very well,” says Preljocaj, who has set several to music Pavillon Noir with Pierre Coulibeuf in 2006 and Eldorado / Preljocaj with Olivier Assayas by the experimental composer. “But this piece surprised me. It was not in the in 2007. 8 — Ballet Preljocaj same mood or style of the Cage I knew.” A passage in the composition filled Several books have been written about his work, notably Angelin Preljocaj (2003), — 9 Spectral Evidence (2013) with nothing but the sound of breathing fired Preljocaj’s imagination. “I Pavillon Noir (2006), Angelin Preljocaj, Topologie de l’invisible (2008), Angelin Preljocaj, Piece for 8 dancers wanted to find in the movement what is heard in the breathing,”he says. de la création à la mémoire de la danse (2011). Choreography Angelin Preljocaj Music John Cage Such pieces he has described as “fundamental research” dealing with Throughout the course of his career, Angelin Preljocaj has received numerous awards, Restaged by Dany Lévêque, choreologist concepts such as weight, energy, dynamics and space. including the “Grand Prix National de la Danse” awarded by the French Ministry of Ballet’s ambience was influenced by a powerful historical incident—namely, Culture in 1992, the “Benois de la danse” for Le Parc in 1995, the “Bessie Award” for La Stravaganza (1997) the 1692 Salem witch trials where spectral evidence, gleaned in the dreams Annonciation in 1997, “Les Victoires de la musique” for Roméo et Juliette in 1997 and Piece for 12 dancers Choreography Angelin Preljocaj of the accusers, resulted in the death of innocent women. “When I heard the the “Globe de Cristal” for Snow White in 2009. He is an “Officier des Arts et des Lettres” Music Antonio Vivaldi (Concerto n°8, RV249, excerpts from Dixit Dominus, Laudate Pueri Cage music, my imagination went to that strange moment in time” Preljocaj and a “Chevalier de la Légion d’honneur” and he was appointed an “Officier de l’ordre du Dominum), Evelyn Ficarra (Source of Uncertainty), Serge Morand (Naïves), Robert says. Mérite” in May 2006. He has received the Samuel H. Scripps/ American Dance Festival Normandeau (Eclats de voix), Åke Parmerud (Les objets obscurs) Award for Lifetime Achievement in 2014. Restaged by Noémie Perlov, choreologist Since October 2006, the Ballet Preljocaj and its 24 permanent dancers have resided at the Pruduction: Ballet Preljocaj I created La Stravaganza somehow instinctively in 1997, after Peter Martins Pavillon Noir in Aix-en-Provence, a building entirely dedicated to dance, with Angelin www.preljocaj.org commissioned the work for the New York City Ballet. Preljocaj as its artistic director. at montpellierdanse.com At first, I didn’t have a precise theme, nor a definite choice of music. I flew to Made with Valérie Müller, the first full-length feature film by Angelin Preljocaj, Polina,

Read the full performance article New York in order to meet the dancers. danser sa vie, adapted from the graphic novel by Bastien Vivès, came out in cinemas on An immigrant’s son myself, this city had always been mythical for me. A November 2016. Watch previous performance extracts symbol of immigration for those who journey towards new commencements, Watch Angelin Preljocaj’s interview the notion of “new continent” appeared to me significantly during the creation process. On the one side, was an Easterner with his ancestral culture, his traditions, and on the other side stood America, Broadway and Balanchine. I wanted to present a story from the past that returns like a boomerang. People rising from dust and bringing novelty. At the beginning of the piece, one hears a young girl saying “I remember”. The past bursts into the future. As if time was a loop, an eternity. The choice of music was made in this regard. Vivaldi’s expert and elaborate music is confronted to more organic sounds. Created 17 years ago, it feels like I am about to meet a grown-up child again. I have always been attached to repertoire notion. Pieces need to be read again Sat. 24th & Mon. 26th June — creation — Native language, Elu is the past participle of the verb to elect in French, STEVEN COHEN 8:00 pm Elu means «life» in Estonian ... and Elu for me means much more than all AT MONTPELLIER DANSE that. Elu is my angel; not a fairy and not a dispenser of happiness, but a real 2010 Chandelier, as part of ]Domaines[ Performance host with angel, entirely beautiful and terrifying, a celestial creature which blows fire, hTh / CDN Montpellier which tells the truth and which is endowed with the power to change the STEVEN course of life, an Art messenger. Elu’s legacy is my moral compass, with hTh / which, by art, I shall find my way back from hell towards to divinity. This Grammont work is conceived first of all in a creative and philosophic approach, rather COHEN than religious and psychological, but by borrowing from several thought Rates - Christianity, Judaism, paganism, wicca, Buddhism, Shintoism, Taoism, Agora 15€ Reduced 18€ holism, animism, shamanism. The investigation method uses personal and Full 22€ put your heart collective rites of lamentation, self-abnegation, expiation, purification and € Agora J+ / + et - 5 remembrance. I also ask myself the question about which place would there under your feet… be for humor, the whim and the beauty, by transcending the mourning by the unveiling of the heart and the comfort of the soul engaged by the artistic and walk / à Elu creation. To lead this work, I intend to weigh exactly Elu’s weight when he died - 52,6kg. Steven Cohen

STEVEN COHEN Choreographer, performer and plastician, he was born When I told Nomsa, my 96 years old adopted nanny & mother,that Elu in 1962, develops an intimate, provocative work, but always sensitive and has passed away, and asked her how could I continue my life without him, finely political. At the stage as on the screen, He incarnates in a work where she said « put your heart under your feet and walk! » . Elu went out of the his body is the principal place of expression, mainly dressed in his own poisonous entrails of the patriarchy, at the time of the Apartheid, in a racist plasticarts creations. Steven Cohen cultivates paradoxs. While he seems and homophobe South Africa. At the age of 5 years old, he was willing to © SHU broken by a painful past and a bitter present, the South African performer study classic dance, and he was mistreated for this. But he never stopped is able to lift mountains. He has endurance and resilience of those who insisting, until an attempt of suicide at the age of 11. Only then his parents have chosen to fight against inequalities and have made this commitment a accepted, otherwise he had died for not being able to dance. Elu dedicated course of action. Art has saved his life and intends to use it to query in the — 11 his life to learn dance, and then to translate his classic ballet knowledge in provocative and nonconformist créations his identity of «Jewish and gay 10 — a contemporary vocabulary, fragile and strong as cobweb. We met in 1997, white monster» and its place in a post-apartheid society. With and by Steven Cohen we fell in love and we shared everything during twenty years. We loved each Coproduction : Festival Montpellier Danse 2017, other beyond the words; we lived and worked together, in fusion. We argue Humain trop humain, CDN Montpellier, Cie Steven As an artist, choreographer and performer shares his time between Europe, Cohen, Dance Umbrella (Johannesbourg), Aide aux but we were always together against the world. Our weapon was our art. where he regularly perform and where he lives in Lille (north of France) with projet DRAC Nouvelle-Aquitaine This work is the expression of the acceptance of my fate, which is not dying the support of Latitudes Prod, and his hometown, Johannesburg. « My body with Elu, but insted, a survivor’s guilt experiment, in this effort to keep alive is in France but my heart is in South Africa » he said while he is since 2009 my broken heart. As well as a tribute to our precarious lives richly danced. At montpellierdanse.com censored in his country. « My work was declared immoral. I thought South I’ll let the deaths bury the deaths and I’ll create a vital art, in celebration of Africa had changed. I was naive. I thought that the queers, could finally be Read the full performance our shared life - A few times with wind abaft, and others crawling on « the article accepted. But whatever we do, we shall not know. We are always victims boulevard of the broken dreams « (Our fetish song : Boulevard Of Broken of discrimination, insults and murders. We do not ask to be considered Watch previous performance Dreams de Green day). Whatever we missed, we always trust on each other, extracts «normal» people. We will never be like others. We want only one thing: or in our artistic expression. put your heart under your feet ... and walk ! Is a equality », he says. Watch Steven Cohen’s interview work about loosing your soul mate, about an impassable sentence, in the cell of «Little Easy». «Little Easy» is this torture blind cell in London ‘s Tower, too small to remain seated, up or lengthened, a place without rest. Watch out! The couple of artists in margin lands, one died, the other one lives for two. Last Elus wish was «I want to be with you for ever». He will so be here. «I shall always love you Elu, you are buried in me, I am your grave. And forever it is much more shorter than we ever thought !” The project put your heart under your feet ... and walk ! will be produced put your heart under your feet... and in three countries South Africa, where from Elu and I comes from, France, walk / à Elu where Elu bring us and where I am now because of him, and Japan where ON TOUR Elu dreamed to go and where I was when he died. Be buried living, bathe me January Festival 30/30 Rencontres de la forme in blood, ingest cremation ashes, irradiate some light, sacrifice and survival, courte, Bordeaux, France worship and blasphemy, trips of Eros to Thanatos: there is nothing that I March 1 & 16 Festival Dance Umbrella, would not try to tribute the art which Elu and I produced in the past. Johannesburg, South Africa The first time I saw Elu dancing, I literally ran away - because what I had seen was of the order of the sacred. Elu means «beautiful» in the Americans Sat. 24th — Sun. 25th dance. Segundo Falcón, orthodox singer browses the classics of songs to & Mon. 26th June ANTONIO CANALES the memory of masters Pepe Marchena, Antonio Mairena, La Niña los Peines among AT MONTPELLIER DANSE 10:00 pm other great names of the Sevillian songs. For dance, I’ll be accompanied by Rafael 1995 Tangos Campallo, ambassador of the Sevillian School, bearer of this traditional Flamenco to Théâtre de l’Agora ANTONIO a fantastic technique, a flavor and a personal humor. The Show honors this legacy Rates that great masters born in left and who gave to flamenco its identity and its Agora 25€ letters of nobility, in resuming their works and providing them with new sounds Reduced 28€ and their own personalities. We will take you in this Seville that everyone keeps Full 35€ CANALES Agora J+ / + et - 5€ in their memories… and we’ll offer you our heart without bounds… Thank you & RAFAEL Montpellier… Antonio Canales ANTONIO CANALES was born in 1961 in the Triana neighborhood of Seville. He began his formal studies at the National Ballet of , where he was able to CAMPALLO work as a soloist, deciding later to make the move to Paris. There, Canales joined the company of Maguy Marin, which opened the doors for him to the world of dance on Singing: Segundo Falcón an international level. He headlined in some fifty performances, appearing on show bills with important figures such as R. Nureyev or Maya Plisetskaya. At this point, Canales had become an international dance celebrity. Historias Flamencas In 1988, he received the Navisela award in Italy for best dancer. In 1990, Canales was also joint recipient of the Best International Dancer prize in Mexico with Julio de Sevilla Bocca. In 1992 he created his own company with two choreographies: A ti, Carmen Amaya and Siempre flamenco. His next show, Torero, premiered in Montreal, Canada, in 1993. In 2011, he creates Mano a mano, where the dancer Amador Rojas, Historias Flamencas de Sevilla is the title of this new project that we will have continuing its line of putting foward great dancers, including Sara Baras and Rafael the pleasure and the honor to present at Montpellier, in this magical place,

Duzert Amargo. He’s invited on several times to choreography the Spain National Ballet as .

JL Agora. Returning to France it’s always a lovely feeling, it’s the country of well as for working with many artists (Farruquito, Cecilia Gómez, Ballet Flamenco ©

my youth, in which I start as an artist and as a person. Montpellier is a place de Andalucía, etc.). In 2010, he creates for the Cervantes Institute a tribute to Pablo

Canales where art flows in the streets and in which I have had the opportunity to Neruda, as well as a tale for children Cuenta con migo Amigo. present some of my most emblematic shows. — 13 Antonio I would like to remembered as a fusion of flamenco with my parisian phase RAFAEL CAMPALLO, a Sevillano by birth, in describing his work as a flamenco in the 80’s, with Régine Chopinot, Jean-Claude Gallota, Maurice Béjart, performer, says, “I like to remember the past, but never to copy it. That would be a Carolyn Carlson, Maguy Marin, who have opened a field that has imbued 12 — great error.” His work carries the brushstrokes of tradition, but clearly belongs to the into flamenco other forms, other visions, other rhythms. It was my turn, current generation of young innovative dancers. As if to prove his artistic beliefs, he Choreography and dance : after Antonio El Bailarin and Antonio Gadès, there has been over thirty years is currently working with an American Shakespearean director to choreograph and Antonio Canales and Rafael Campallo nourishing Flamenco with these experiences, this emphasis that fact that Singing soloist : Segundo Falcón dance in a flamenco rendition of Don Juan. Singing dance accompaniment : David “El today new generations can continue their research. Galli”» – Moí de Moron Campallo is athletic in muscularity and stature, yet graceful on stage. His work Guitar solo and accompaniment : reflects the years of study with such masters as Mario Maya, Manolete, Manolo Rafael Rodriguez As a dancer, through all my life I’ve always liked to go to the primitive and Guitar accompaniment : Marín and José Galván. Early in his career, in order to refine his craft, Campallo Juan Campallo most archaic source, I have been very traditional but also very rebel. I am a went to work in Sevilla’s best-known and fabled tablaos (flamenco night clubs), Percussion : José Carrasco researcher that purists do not support but accept sometimes. I cannot settle where dancers daily perform short routines and learn to improvise before small but Production : ARTEMOVIMIENTO for a single path. I believe that it is as painters: Goya had his black paint enthusiastic audiences. period, Picasso and Les Demoiselles d’Avignon … they’ve passed through www.antoniocanalesbailaor.com At age 18, Campallo joined the famous María Pagés Company for a performance at steps to. the Bienal de Flamenco, the world’s largest and most prestigious flamenco festival, Since I was a kid, I dreamed being Carmen Amaya even if she is a woman, and separately performed with Manuela Carrasco and with Manuel Soler. Shortly At montpellierdanse.com dreamed that is confronted with being Rudolf Nureyev. When I saw him thereafter he joined the Compañia Andaluza de Danza (CAD), under the direction dancing in The Sleeping Beauty I was always saying: «I want to look like a of Mario Maya, with which he participated in an international tour, including a Read the full performance article Russian!». performance at the opening ceremonies of the World Skiing championships in Watch previous performance extracts , Spain. José Antonio, the director of CAD, signed Campallo to work as guest In this new work, we will try to make a trip in our Seville that saw us born choreographer and as a solo dancer. and grow, laugh and cry… Historias Flamencas de Sevilla is a performance that combines song, guitar and dance, rooted in the sevillian flamenco. Seville is Flamenco’s birthplace ; Triana and the Alameda are the two metting points where flamenco’s families met. They have become the first «cafes cantantes». This way is how pure flamenco is born, the flamenco Orthodox, the profound song El . But Seville is also the epicenter of a land that has given birth to the great masters who have asserted a style of their own, those of Alcala de Guadaira, Marchena or El Cuervo. Historias Flamencas de Sevilla is a tribute to the great creators of the song, guitar and Sun. 25th & football world cup, the political events of the militaries at the power, but MATHILDE MONNIER th — creation — Mon. 26 June also because Kontakthof () was premiered in 78 (the fact that AT MONTPELLIER DANSE 8:00 pm Penchenat had seen it at the time has a link with the genesis of Le Bal). 1988 Mamma Sunday, Monday or Always avec Finally, because it is the time of our childhood, when we wanted to say Jean-François Duroure Opéra Comédie MATHILDE everything and still could. 1993 Pour Antigone The collection of life stories seems to be very important and the “peripheral” 1994 Je ne vois pas la femme cachée dans la forêt, Rates Chinoiserie et Ainsi de suite Agora 1st range 25€ aspect of these stories too. It is in many ways an exploration of popular Reduced 1st range 28€ issues, without demagoguery. 1995 Nuit Full 1st range 35€ MONNIER So first, we will work with the performer’s personal stories as a starting point 1997 Arrêtons, arrêtez, arrête 1998 Les lieux de là, Pour Antigone Unique rate : and then build up narratives from those listened and shared stories and 2nd range 15€ explore Argentinian mythologies, what remains of the lost generations and 2000 Potlasch, Dérives Agora J+ / + et - 5€ & ALAN danced revolutions. 2001 Natt, Rose et Signé, signé We will not offer clichés or pictures from an era built on splits and breaks, 2002 Multi Materials, Déroutes PAULS but rather explore the slow and imperceptible changes, changes that make 2004 Publique, Alitération the world turn radically from an era to another.. Mathilde Monnier & Alan Pauls 2005 La place du singe 2006 2008 vallée, La place du singe et Frères et soeurs El Baile MATHILDE MONNIER is a role model in French and international 2007 Tempo 76 a piece for 12 dancers contemporary dance’s landscape. From piece to piece she defies expectations 2007 Rinô in dance by presenting a work in constant renewal . Her nomination at the head of the 2008 Gustavia Choreographic Centre of Montpellier Languedoc-Roussillon in 1994 marks 2009 City Maquette et Pavlova 3’23 the beginning of a series of collaborations with personalities from various 2010 Soapera artistic fields (Jean-Luc Nancy, Katerine, Christine Angot, La Ribot, Heiner 2011 Pudique acide et extasis Behind this project, there is Le Bal, a play created in January 1981 by director Goebbels...). She created more than 40 choreographic works presented on the 2012 Twin paradox Jean-Claude Penchenat and the théâtre du Campagnol company. © Marc Coudrais / © Silvana Sergio / © Silvana Coudrais © Marc great stages of the Avignon festival, the biggest theaters of Paris, New York, 2013 Objets Re-trouvés avec le Ballet de Lorraine Vienna, Berlin, London… and received several awards for her work : The This is the story through time (40 years) of relationships based on desire French Ministry of Culture prize, the SACD Grand Prix. She was designated 14 — and seduction strategies between men and women. This story is shown in in 2014 to take the general direction of the National Dance Centre in Pantin. — 15 a situation that crystallizes the essence of relationships and desire since it Conception et choreography : Mathilde Monnier et Alan Pauls involves the body, dance, and thanks to the grace of theater and metonymy ALAN PAULS is an Argentinian writer born in in 1959. He is Dramaturgy : Véronique Timsit : this situation is an activity as well as it is a place : the ball. Actors express the son of a German immigrant who fled the Nazis in 1936, he studied at the Scenography and costume : Annie Tolleter themselves without dialogues but with their bodies (acting and dancing) French school in Buenos Aires. Perfectly French-speaking, he is an expert Lighting designer : Eric Wurtz by establishing an intimate contact with the music that evokes the passage of Stendhal, Proust and Barthes’ works which inspired him to write his own Musical advice : Sergio Pujol Workshops’ coordination: Marie Bardet of time.We want to create a new show based on Le Bal and to continue the works. Professor of literature theory, translator, writer, film critic, he has Rehearsal assistant: Corinne Garcia process launched 30 years ago. The main basic concepts which foundedLe Artistic advice : published an essay on Borges, several short stories and novels, including The Anne Fontanesi Bal remain : unity of place, absence of spoken text, having to tell stories only Past, receiving the Herralde Prize in 2003. He created the magazine “Lecturas With (12 performers) : Martin Gil, through movement and dance, travel through a country’s history, going from Lucas Lagomarsino, Samanta Leder, críticas“ and worked as an editor for the daily “Página / 12“. He is now Pablo Lugones, Ari Lutzker, Carmen an era to another. We aim to create a “contemporary” version and explore, recognized as a major author in Argentina. Pereiro Numer, Valeria Polorena, not how “telling history”, but rather try to go further in order to express what Lucia Garcia Pulles, Celia Argüello Rena, Delfina Thiel, Florencia Vecino, history does to the body or make it do. Daniel Wendler Dance, body, movement, space must remain central in the show. It is about Production : Le Quai, CDN Angers Pays capturing the energy or the lack of energy of each era: tired bodies, bodies de la Loire Coproduction : Festival Montpellier Danse that resist common body, exploded body over-energized body, body- 2017, Théâtre national de Chaillot, CTBA Teatro San Martin Buenos-Aires, Théâtre built, athletic body, damaged body, child body, aged body, body made of Sénart - Scène nationale, Théâtre de Namur, Festival prosthesis, broken body, transformed body, it’s all dance, and manifestation La Bâtie – Genève Avec le soutien de l’Institut Français et de of collective imagination. la DRAC Occitanie This new project will be invented and premiered in Argentina, more mathildemonnier.com specifically in Buenos Aires, in a country where dance has a special meaning and a prominent place and evolves in a strong political and social context. Tango is the soul of Argentina. Tango is timeless, popular, still alive, it At montpellierdanse.com is both a practice and an art. It still evolves, from traditional tango of the Read the full performance milongas to contemporary tango, tango of international competition or article queer tango, electro tango, rap tango. However it would be wrong to reduce Watch previous performance dance in Argentina to tango, because it is also made of samba, techno, rock, extracts and all the that are practiced today and make its diversity. The show Watch Mathilde Monnier et will be built on all these different steps and popular rhythms but also from a Alan Pauls interview repertoire of songs and music that has marked each era. We want the show to explore a period from 1978 to today because : the Mon. 26th & Tue. 27th June — creation — to conduct with his collaborators. Terayama wanted to expose reality, DAVID WAMPACH 6:00 pm and for this reason he worked with amateurs, different bodies, people of AT MONTPELLIER DANSE diminutive size or of formidable stature. He said that he wanted to change 2005 CIRCON C IS / CIRCONSCRIT and revolutionize the world through theatre. 2007 QUATORZE I have sought to make connections with contemporaneous events across 2009 AUTO Studio Bagouet / DAVID 2011 SACRE Agora different spaces and different continents. I will risk making another link with another artistic movement, then, though this time I will remain grounded 2013 TOUR Rates in Japan as to make the link to the Gutai movement. The term comes from 2015 URGE Agora 15€ WAMPACH gu which means “instrument” tai which means “body”, and its adverb Reduced 18€ Full 22€ gutaïeki which signifies that which is concrete, embodied. Gutai is one of the Agora J+ / + et - 5€ ENDO founding movements of contemporary art and performance, developing out of the regions of Kyoto and Osaka at the end of the 1950s. At this same time Yves Klein developed his Anthropométries in France. The founder of the movement, Jir? Yoshihara, writes in the Manifesto of Gutaï Art: “Gutai Art does not alter matter. Gutai Art imparts life to matter. In Gutai Art, the human spirit and matter shake hands with each other while keeping their distance. Matter never compromises itself with the spirit; the spirit never dominates matter. When matter remains intact and exposes its « You see, all art has now become completely a game by which man distracts characteristics, it starts telling a story and even cries out.” himself; and you may say it has always been like that, but now it’s entirely The artists of the Gutai movement came to present their work in Tokyo and a game. And I think that that is the way things have changed, and what is it is highly likely that Terayama saw them there. I perceive a fascinating now is that it’s going to become much more difficult for the artist, between them, by the fact of their working brute matter and of exposing because he must really deepen the game to be any good at all » their processes to their audience. As in the work of Francis Bacon, there is a Francis Bacon interviews will to be directly immersed in the subject in all its sentient matter. For this © Martin Colombet © Martin project, I have chosen to revisit histories of performance and practices of In 2016, I spent two months in residence at the Saison Foundation, in Japan, action art, which foreground the body so as it may adopt multiple functions: living on the traces of the obscured artist, Shuji Terayama. Encountering material, support, instrument, subject, actor, spectator. I aim to reactive the Terayama’s work triggered an artistic shock for me, fed by a sense of my own 16 — performances of Terayama, Yves Klein, and of the Gutai movement—placing — 17 ability to connect to its familiar universe. I could see in his work a certain them in dialogue with each other as to observe what still resonates today. Choreography : David Wampach Dance : Tamar Shelef, David Wampach manner of opening the gaze. Originally Terayama had been a man of letters, Visual work : Rachel Garcia having gained before even reaching adulthood for his writings of tanka, a DAVID WAMPACH started out studying medicine at the Faculty of Light : Nicolas Boudier Artistic advice : Marie Orts, Dalila form very close to haiku. Eventually he would write texts for theatre, found Montpellier. He quickly became interested in live performances: firstly Khatir and direct the Tenjo Sajiki performance troupe, practice photography, direct theater, and then dance. He participated in multiple dance groups: The

Executive production : experimental as well as mainstream films—all while working, in parallel, Company Coline in Istres, France (1999), Ex.e.r.ce (2000) at the National Association Achles Co-production : Festival Montpellier as a journalist on boxing and horse racing. It is this polymorphic work Choreographic Center of Montpelier, directed by Mathilde Monnier, and Danse 2017, Uzès Danse CDC, Centre chorégraphique national de Tours that seduced me, that compelled my desire to explore what interests and then the P.A.R.T.S school of Brussels with Anne Teresa de Keersmaeker With the support of Saison Foundation curiosities it provoked for me. (Tokyo/Japon), Villa Kujoyama (Kyoto/ (2001). He also participated in the training of choreographic culture offered Japon), l’Echangeur CDC Picardie, CND In choosing to do this research on Terayama, one might think that I tend by Laurence Louppe, from 2004 to 2006, while working on his creations. - un centre d’art pour la danse, Tanzhaus Zürich towards an exoticism. Yet Japan, a country that I have visited five times, In 2001, his approach borrowed from theatre and plastic art, developed along David Wampach a été invité par la Saison Foundation comme Visiting Fellow en 2016 eventually became familiar to me. Since the first visit I found many points the way, was integrated in the Achles Association.

www.davidwampach.fr of commonality with the Maghreb and Algeria, one of my origins: the care David Wampach co-wrote the duet D ES R A (2003) with Pierre Mourles, of the body, practiced collectively (the hammam for one, the hot baths for before creating the solo CIRCONSCIS (2004), then BASCULE (2005),then the other); the relationship to the ground (for meals as well as for sleep); the came QUATORZE (2007), AUTO (2008), a duet with pianist, Aurélien At montpellierdanse.com different rituals; the separation of men and women. Eventually, the feelings Richard, BATTERIE (2008) and BATTEMENT (2009), He created two new Read the full performance of exoticism in Japan transformed into something familiar, known, endotic. pieces in 2011: CASSETTE , a Latino version of the ballet Casse-noisette article Endoticism is, in essence, the opposite of exoticism. The endotic current (Nutcracker), and SACRE , a reading of Sacre du Printemps (The Rite of Watch previous performance proposes a tendency towards the renewal of the subject, not so much through Spring), created at the Montpellier Dance Festival in 2011. In 2012 and 2013, extracts its diverting or contorting but through direct approaches. It concerns David Wampach continued his work on ritual and trance, directing his first Watch David Wampach’s confrontations with the subject’s sentient truth. Initiated among others short film, RITE , a continuation of the piece SACRE , and creating the solo interview by Francis Bacon, this current opposes conceptual art, which knew great TOUR , in which he portrays a primal being invaded by the uncontrollable success, in the 1960s-70. This same period saw Terayama’s work unravel in rhythm of his inhalations and exhalations, composing a visual and acoustic Japan and Europe, through his many journeys between the two places. portrait. In 2014 he created the duet VEINE. I am drawing a link between the endotic movement and Terayama as I David Wampach is also regularly invited to teach in educational programs, sense a strong capacity in Terayama towards auto-regeneration, towards such as exerce at the Centre Chorégraphique National de Montpellier, the profound questioning of one’s artistic production, one’s motivations, EMFOCO in Concepción, Chile, and DanceWEB, the scholarship program one’s necessities to create. This is what I have been able to see in the different of the ImPulsTanz festival, for which he was invited as a mentor in 2014. pieces that compose his oeuvre, as well as in the interviews I have managed Tue. 27th June Would you say that this is the legacy of the minimal-reductive-conceptual LUCINDA CHILDS 8:00 pm movement of the seminal 1960s and ‘70s? AT MONTPELLIER DANSE Yes, I would suppose, because Cunningham was the first major 2000 Commencement, Concerto, BALLET DE CREATION choreographer who avoided any orientation in his work and (kept it) Dance, Description (of a description) , Opéra Berlioz / completely abstract… He felt the dancing in and of itself was beautiful and Radial Courses, Rhythm Plus, Le Corum L’OPÉRA DE didn’t need anything added to that. Sunrise of the planetary dream collector, Rates If you were creating Dance today, is there a particular contemporary artist Variété de variété Agora 27€ and composer that you would want to work with? 2012 Einstein on the beach with Philip Glass and € Reduced 30 Well, I’ve worked with Philip Glass now for over 30 years. And, John Adams Bob Wilson Full 38€ LYON— Agora J+ / + et - 5€ is another composer that I continue to work with. And, I’m always interested in finding what’s new, but I feel that there is still a considerable amount of LE BALLET DE L’OPÉRA DE LYON LUCINDA music from those two composers that I’d very much like to work with. AT MONTPELLIER DANSE David Moreno’s interview extract 1988 Cendrillon, Les Sept pêchés capitaux of Maguy Marin, Mama Sunday, Monday or CHILDS Always of Mathilde Monnier and Jean-François LUCINDA CHILDS Lucinda Childs began her career at the Judson Dance Duroure, Land of Christopher Bruce and Dance Theater in 1963 where she choreographed thirteen works and performed in Eldshad of Mats Ek works of Yvonne Rainer, Steve Paxton, and Robert Morris. Since forming 1993 Coppelia of Maguy Marin Music : Philip Glass her dance company in 1973, she has created over fifty works, both solo and ensemble. In 1976, she collaborated with Robert Wilson and Philip Glass on the opera Einstein on the Beach, as principal performer and choreographer. Using film as an integral part of Dance was cutting edge in the late She received a Guggenheim Fellowship in 1979 for her collaboration, Dance, ’70s. Since then, the incorporation of video and film has become more with music by Philip Glass, and film décor by Sol LeWitt. commonplace in theater and dance, especially as technology improves. Since 1981, she has choreographed over thirty works for major ballet Where do you think the collaboration between dance and technology is companies which include the , Les Ballets de Monte Carlo, headed? and Baryshnikov’s White Oak Dance Company. Available Light (1983) with It’s an interesting time. Technology has made it easier for us to restore and music by John Adams and set by architect, Frank Gehry was revived for work on the piece and to bring the sound quality up to the best possible level. the 2015-16 season, and she is recently choreographed Beethoven’s Grande Lucinda Childs © Cameron Wittig Childs © Cameron Lucinda And, practically speaking, digital makes touring Dance easier then when Fugue for the Lyons Opera Ballet, which premieres in November, 2016. we were working with film. But, I don’t really know where it’s all going. We Childs received the Bessie Award for Sustained Achievement in 2001, and 18 — just had the idea of synchronizing the dancers on stage with the dancers — 19 Choreography: Lucinda Childs was elevated from the rank of Officer to Commander in France’s Order of Music : Philip Glass (©1979 Dunvagen in the film, and I’ve seen a lot of that since then. … With all of the touring Arts and Letters in 2004, and in 2009 she received the NEA/NEFA American Music Publishers Inc.) and travel of the past 10 years, I hardly get to see enough of what is really Costume designer : Masterpiece Award. A. Christina Giannini going on. I’ve seen film used a lot, but I haven’t seen anything that radically Lighting designer : Beverly Emmons Conception of the original film : different, or that caught my attention in a way that I haven’t seen already. Sol LeWitt What are the most significant changes that you’ve made in re staging Film remade, in identical fashion to BALLET DE L’OPÉRA DE LYON has a «classical structure directed Dance ? Were all of those changes made in 2009 or are you continuing to the original version, with the Ballet de towards contemporary dance»,with a repertoire of American postmodern l’Opéra de Lyon dancers, by make additions and subtractions as the piece continues to tour? Marie-Hélène Rebois dance (Merce Cunningham, ), various contemporary dance It’s all exactly the same steps, exactly the same precision, precisely Director of photography: styles (Tânia Carvalho, Emanuel Gat) and the jeune danse française (new Hélène Louvart connecting to the music the same way, but the style of the dance back in the Continuity : Anne Abeille French dance) (Alain Buffard, François Chaignaud et Cécilia Bengolea), but ’70s and the style of it now definitely has differences. … I don’t try to make Editing : Jocelyne Ruiz also including « the radical reinterpretation of some standard works ». The Effects : Philippe Perrot one group match up with the other completely in terms of style because A piece for 17 dancers, created on 1979 current artistic director is Yorgos Loukos. The dancers recruited by the ballet The piece entered into the Ballet de what’s important to me is the actual choreography. And that has not been come from all walks of life and are of all nationalities est une compagnie de l’Opéra de Lyon repertory on 13th Avril changed at all because of the film … they were meant to be synchronized 2016 formation classique tournée vers la danse contemporaine. together. Production : Opéra de Lyon Opéra de Lyon : General Directeur You pioneered the use of repetition, patterning, and simple dance steps in Serge Dorny Ballet de l’Opéra de Lyon : choreography. Is there an emotional component to this style, or does this Artistic Directeur Yorgos Loukos The National Opera of Lyon is regulated type of dance remain purely conceptual? Well, it’s completely conceptual by the Ministry of Culture and Communication, the city of Lyon, the and technical, but I feel any dancer on stage performing has their own Regional Council Auvergne-Rhône-Alpes presences and emotional … reaction to the music, which comes through and the metropolis of Lyon. without any story being told. They are physically there. They are physically www.opera-lyon.com www.lucindachilds.com part of what they are doing, and there is intensity to that precision of what they are doing is demanding. And, that intensity brings out an emotional Sur montpellierdanse.com quality. Read the full performance What are you attempting to communicate to the audience with this article particular style of choreography? Watch previous performance Well, it’s really completely abstract, but in a poetic way. I’m moved by extracts Philip’s music and I’m inspired by the music, so for me the movement is Watch Dance behind the scenes at l’Opéra de Lyon really meant to be there. Because of the quality of what I feel should be done with the music, and the fact that there is an interaction between the dancing and the music—a tension between those two different forms. Fri. 30th June— Sat. 1st & — creation — EMANUEL GAT nd is the the most remarkable one, we have arrived at such degree of trust, that Sun. 2 July allowed me to go to directions to which I would not have been able to go AT MONTPELLIER DANSE 10:00 pm otherwise. I wanted to put emphasis on this collaboration, which has been, 2008 Silent Ballet, Sixty Four BALLET DE during this last 10 years, extremely important and determining for my work. 2009 Variations d’hiver Théâtre de l’Agora 2011 Brilliant Corners

Rates Since Brilliant Corners where I created the music, I explored multiple 2013 The Goldlandbergs, Corner Etudes, Agora 25€ musical directions. With these ten plays I am going to be able to go to many Danses de cour et It’s people, how € L’OPÉR A Reduced 28 different directions. There will be existing works, music compositions and abstract can it get ? - installations Full 35€ Agora J+ / + et - 5€ plays where I am going to create the sound track as well as a live musician, photographiques DE LYON — Alain Billard, who will interpret Art of Metal II de Yann Robin. The way 2014 Plage Romantique these ten plays are going to be organize is going to be set up during the 2015 SACRE/GOLD rehearsals. I have the image of a music album where there are ten tracks with 2016 SUNNY EMANUEL songs of two or three minutes which follow one another. Emanuel Gat LE BALLET DE L’OPÉRA DE LYON EMANUEL GAT was born in Israel in 1969. His first encounter with dance AT MONTPELLIER DANSE GAT DANCE was at the age of 23 during a workshop led by Israeli choreographer Nir Ben 1988 Cendrillon, Les Sept pêchés capitaux de Gal. Few months later he joined the Liat Dror Nir Ben Gal Company with Maguy Marin, Mama Sunday, Monday or whom he toured internationally. Always de Mathilde Monnier et Jean-François TENWORKS (for Jean-Paul) He started working as an independent choreographer in 1994. Ten years later Duroure, Land de Christopher Bruce et Eldshad Emanuel founded his company Emanuel Gat Dance at the Suzanne Dellal de Mats Ek Centre in Tel Aviv, with whom he has created several pieces of which Winter 1993 Coppelia de Maguy Marin TENWORKS (for Jean Paul) is a program celebrating dancers. Their Voyage (2004) and (2004); K626 in 2006 and 3for2007 in 2007, before choosing to settle in France, at the Maison Intercommunale de © Emanuel Gat © Emanuel uniqueness, virtuosity, engagement, fearlessness and humanity. A group of 20 dancers, ten from le Ballet de Lyon and ten from Emanuel Gat Dance, la Danse in Istres. Silent Ballet (2008) was the first piece created in France, share the stage in a série of ten short works in various constatations, formats, followed by Winter variations in 2009 and Brilliant Corners in 2011. In musical environments and choreographic directions. The notion of a new 2013, Emanuel Gat was associated artist to the Montpellier Danse Festival for which the company developed the project Up Close Up proposing two new 20 — redistribution of artistic responsibilities and resources, is at the heart of all works : The Goldlandbergs and Corner Etudes, a photographic installation ten new works and the program as a whole. — 21 Choreography, lights & costumes: It’s people, how abstract can it get ? and a choreographic event Danses de Emanuel Gat Cour. In 2014 Emanuel Gat creates Plage Romantique, a one hour work for 9 Music : Yann Robin, Fred Duru, Awir Léon, TENWORKS is in many ways a reaction to the changing times, and to the Joachim «JKid» Souhab, Emanuel Gat, G. constant evolution of the manner in which dance, and art in general, is being dancers, in the Agora courtyard during the 34th Festival Montpellier Danse. Ligeti, J.S. Bach Emanuel is regularly invited to set his work and create new choreographies Live Musician: Alain Billard interprets Art produced. It is an attempt to explore new models of artistic production, to Of Metal II by Yann Robin, for clarinet metal question old boundaries and hierarchies, and explore models of inclusiveness for dance companies around the world including: The Paris Opera Ballet, doubl bass and electronic device. Sydney Dance Company, Tanztheater Bremen, Le Ballet du Grand Théâtre Dancers: Jacqueline Bâby, Kristina Bentz, Edi and support, as opposed to those of exclusiveness and competition. Blloshmi, Thomas Bradley, Robert Bridger, de Genève, Ballet de Marseille, The Royal Swedish Ballet, Polish National Adrien Delépine, Tyler Galster, Pansun Kim, Péter Juhász, Caelyn Knight, Michael Löhr The play created at the Theater of Agora with the Ballet de l’Opéra de Lyon Ballet, Ballet de Lorraine and Cedar Lake among others. , Graziella Lorriaux, Geneviève Osborne, Marco Merenda, Leoannis Pupo-Guillen, and the dancers of my company is new, it is a way of creating a new program Raul Serrano Núñez, Karolina Szymura, not usually made. We are in a context where there is a borderline between BALLET DE L’OPÉRA DE LYON has a «classical structure directed Milena Twiehaus, Sara Wilhelmsson, Daniela towards contemporary dance»,with a repertoire of American postmodern Zaghini institutions, structures and companies. We are in a reality where the artistic th dance (Merce Cunningham, Trisha Brown), various contemporary dance Production Emanuel Gat Dance, Opéra de Lyon and production support are separated, divided. It is the logic of the 20 Co-production Festival Montpellier Danse 2017 century. The world changed and the way we create dance also, specially these styles (Tânia Carvalho, Emanuel Gat) and the jeune danse française (new Co-production Milena et Michael Maison de la French dance) (Alain Buffard, François Chaignaud et Cécilia Bengolea), but Danse de Lyon last twenty years. The esthetics and vision differences that could exist twenty With the suppport of General Council des also including « the radical reinterpretation of some standard works ». The Bouches du Rhône years ago between a national ballet and an independent dance company, are The company counts with the support of the city of current artistic director is Yorgos Loukos. The dancers recruited by the ballet Istres, Minestry of cultural affairs, DRAC PACA not the same any more. I notice this when I worked at the same time with the at fondation BNP Paribas for the development of come from all walks of life and are of all nationalities est une compagnie de artistic projects. Creation welcomed in residence in Ballet de l’Opéra de Lyon and my company. I didn’t felt the difference when I Agora and at Maison de la Danse d’Istres passed from a group to the other and it is at this moment that I realized that formation classique tournée vers la danse contemporaine. Opéra de Lyon : Director général Serge Dorny Ballet de l’Opéra de Lyon : Artistic Director there was no difference between these two structures. Dancers have the same Yorgos Loukos language, the same things inspire them, and they speak and think in the same The national Opera of Lyon is subsidized by the Ministry of Culture and Communication, the way and have the same landmarks and references. To find artistic footbridges City of Lyon, the Auvergne-Rhône-Alpes regional council and the Metropolis of Lyon. between these two institutions becomes then an obvious fact. It’s time to www.emanuelgatdance.com evolve and look for new ways of creations, to collaborate together. www.opera-lyon.com At montpellierdanse.com TENWORKS is a ten plays performance. For Jean-Paul means that for me Read the full performance article creation is a personal act, which is reflected in a dialogue, and never isolated.

As choreographer, I always create in continuous relation with interlocutors Watch rehersals videos Performance created in working residence at as Jean-Paul Montanari, who go into a dialogue and the created work is the Agora, cité internationale de la danse, with Watch Emanuel Gat’s interview result. For nine years, and over 25 years of career, dialogue with Jean-Paul BNP Paribas Foundation support Sun. 25th June 5:00 pm Thu. 6th July Place Royale du Peyrou / — creations — — creation — Montpellier 10:00 pm Cour de l’Agora Free entry / reservation required Mon. 26th June 5:00 pm Parvis du Corum, EMANUEL EMANUEL nearby Esplanade / Montpellier

Tue. 27th June 4:00 pm GAT GAT Railway station main hall Montpellier Saint-Roch Duos INTERNATIONAL Wed. 28th June 5:00 pm WORKSHOP Place du Nombre d’Or / Montpellier Public Presentation Thu. 29th June 5:00 pm City Hall’s courtyard / Montpellier

Free entrance

For Montpellier Danse 2017, Emanuel Gat Dance will present five different During Montpellier Danse 2017, Emanuel Gat hosts a workshop at the site specific duets, by five different couples, in five different locations(the Agora, cité internationale de la danse, for professional dancers from around SNCF train station, the roof of Opera Berlioz...) the world. Gat will share with dancers an intimate creation process, which will culminate in a public presentation of the work created during the DUOS is a way of allowing choreographic work to spill out to the streets and workshop.

© Emanuel Gat © Emanuel public spaces. To release it from the boundaries of stage and theatrical time, Gat © Emanuel and place it in the midst of the ongoing city life. In 2013, the approach was There is always a request from the dancers, it is like a community that speaks — 23 inverted. In Corner Etudes, we brought the public on the scene of the Opera the same language, travels a lot, wants to meet the job. I never do auditions, Berlioz at Corum, we brought the public in our space. On the other hand, it’s a way of answering this request. It’s also a way for me to keep in touch 22 — this year, we wish to bring choreographic elements in the everyday public with what’s going on outside my company because the way the dancers work life, in the spaces that are not intended for it. This work creates a tension in Production: Emanuel Gat Dance evolves all the time. It is also a way to stay in touch with the field of pure Concept: Emanuel Gat the way the work is presented to the public. Co-Production: Festival Montpellier Created with and interpreted by the Danse 2017 dance, to meet new people, to have new ideas. Because five days it is a very dancers of the company. Duets is not unusual for me, in all my plays there is always this research. It short creating process , it’s something stimulus and another way to approach 5 original duets - 20 minutes each - presented in 5 different venues. is this question that does not stop fascinating me. Two people, two bodies, work and share it. . Emanuel Gat something takes place between them, they made and unmade… Production: Emanuel Gat Dance, Opéra de Lyon The way we approach dance in this project is very different from others, it Co-Production: Festival Montpellier is the environment that changes. In stage, we control atmosphere, sound, Danse 2017 Co-Production Milena & Michael: light ... all that it is not possible to do once we leave a theater. Choreography Maison de la Danse de Lyon comes alive in a context that is uncontrollable, which will change, surprise With the support of Conseil Général des Bouches du Rhône us, a context with which we can react or not. I find this problematic Working residency at Agora - cité interesting. Emanuel Gat internationale de la danse and the Maison de la Danse d’Istres

www.emanuelgatdance.com

At montpellierdanse.com

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Performance created in working residence at Agora, cité internationale de la danse, with BNP Paribas Foundation support th He was looking for a choreographer to create a piece for him. I met him in Wed. 28 & Brazil, in Rio. After speaking with him, I was determined to explore hip-hop th Thu. 29 June — creation — further, to better understand its various styles and techniques. I was finally FABRICE RAMALINGOM 8:00 pm able toabandon my preconceptions—that hip-hop was inherently misogynist AT MONTPELLIER DANSE and homophobic—and it began to seem possible that I might create a work 1990 Courts et moyens métrages 1, extrait de Théâtre la Vignette FABRICE using the vocabulary of hip-hop. Trois Quarts Dos, with Hélène Cathala, Sylvie In October 2015 we met again, this time in Rio. I suggested him that we Giron, Bernard Glandier Rates invite more dancers to join us, so introduced me to Rennan and Tito, who € Agora 15 with La Camionetta € are very different from one another physically, and they each have very Reduced 18 RAMALINGOM Full 22€ strong personalities. Although they have this dance in common, they each 1996 Si j’étais toi… Agora J+ / + et - 5€ have their own style and energy. 1997 La Chanson de Varia, Si j’étais toi…, Nós, tupi or not How could I speak about them, place them on stage, such that the audience Précipité encounters them in a similar manner to how I did? Not only as very talented 2003 Far tupi ? hip-hop dancers but also as men with their own lives, which aren’t always easy ones, men who see the world each in their own way, who survive with R.A.M.a through dance and who also connect with others through dance. 2000 Implication The result won’t be a piece of contemporary dance, won’t be a hip-hop 2005 Septimanie Danse 3 : Extract number; instead, it will open up a space in which to experiment with 2007 Comment se ment, Postural : études bringing together these two disciplines. The hope is that this invitation to 2009 Fiction in between with Saskia Hölbling move—me towards the dancers, them towards me—will create a space in 2010 Pandora Box / Body The concept of freedom underscores all my work and acts as the foundation which dance becomes a way for each of these men to reveal themselves; that 2013 MY POGO of my methodology. I like the idea that we each have the power to free rather than hiding behind their virtuosity, their skill will serve a purpose, will 2015 Hyperterrestres with Benoît Lachambre ourselves from a situation, a movement, or a relationship, thus escaping become part of a deep and sincere declaration by these three talented dancers from a condition that has been thrust upon us. From 1985 to 1990, hip- about their relationship to the body, to others, to the world, to politics, to hop became popular in the Paris suburbs where I lived at the time. I intimacy. thought it was incredible that dancing in the streets had become a means of I hope that the public will be moved by them and their humanity, as I am. © Frank Boulanger © Frank expression, that it could even be considered a political action. At the same Fabrice Ramalingom time, faced with the terrible threat presented by HIV/AIDS, the homosexual community—some wearing the Act-up tee shirt bearing the phrase Dance 24 — = Life. I began dancing professionally. Intuitively, I considered that hip- FABRICE RAMALINGOM, studied from 1986 to 1988 at the Centre — 25 Choreography : Fabrice Ramalingom hop was limiting. In the interval between each acrobatic figure, the dancers national de danse contemporaine in Angers before beginning his Dancers : Eduardo Hermanson, Rennan Fontoura, Tito Lacerda always make gestures that refer to clichéd alpha male ‘hood’ behavior, professional career as a dancer-performer at the Centre chorégraphique Lighting : Maryse Gautier adopting postures they consider cool and manly, always with a touch of national in Montpellier. Fabrice danced with them from 1988 to 1993, Music : François Richomme Scenography & costumes : Thierry arrogance and a hint of menace, the potential to frighten. I can’t identify performing in all of the works by Dominique Bagouet. He also danced in Grapotte with that. Instead, I think of dance as a means of opening myself up to the One story, as in falling, a work created for the Bagouet company by Trisha Production : R.A.M.a Co-production : Festival Montpellier world. My hope is that by learning different techniques and methods of Brown in 1992. In 1993, he was a founding member of Les carnets Bagouet. Danse 2017, Gessnerallee choreographing, I’ll discover new At the same time, he co-founded the company La Camionetta with Hélène Zürich,Théâtre de Nîmes, ICI-Centre chorégraphique national Montpellier positions and new postures that will allow me to access new outlooks, and Cathala. Over the next thirteen years together, they choreographed 11 works - Occitanie / Pyrénées Méditerranée / thus new states of mind. I want to acquire, through dance, the kind of and were associate artists at the Équinoxe Scène nationale in Chateauroux, at Direction Christian Rizzo, Théâtre Paul Eluard de Bezons, CDC knowledge that transcends borders and social codes; to free myself; to gain a the Théâtre de Nîmes, then at the Scène nationale in Sète and Bassin de Thau. Uzès Dansee, Châteauvallon scène nationale more nuanced, richer, and more complex vision of the world. In 2002 in Montpellier, La Camionetta tried out a new collective experience With the support of : Ménagerie de From my point of view as a gay man, it also seemed to me that certain with two other choreographers and two stage directors, in an alternative Verre dans le cadre du StudioLab, du Centre Chorégraphique de Rio et de heterosexual norms were taken for granted in the hip-hop community, space for creation and production called Changement de propriétaire, for l’Institut Français that hip-hop involved excessive displays of male strength that reinforced interdisciplinary projects, residencies, performances and training. In 2005, R.A.M.a is subsidized by Drac Occitanie - Ministère de la Culture et de la a specific vision of virility. It also involved rejecting the label of dancer, he became artistic advisor to the group exerce at the Centre chorégraphique communication, Région Occitanie / because it was thought that ‘dancer’ would imply ‘sensitive,’ which would national in Montpellier. In 2006, he founded the company R.A.M.a. Pyrénées - Méditerranée and Ville de Montpellier. imply ‘gay.’ So for me, hip-hop, no way. The question of territory is also predominant in his new project. Fabrice has www.rama.asso.fr Twenty-five years later, I saw a piece by Bruno Beltrão that relied on the been artist in residence at the ADDMD11, associate artist at l’Agora, cité vocabulary and techniques of hip-hop. Yet Beltrão established a feeling internationale de la dance in Montpellier, as well as associate artist at CDC At montpellierdanse.com of equality among the members of his troupe, and even communicated Uzès Danse. Read the full performance tenderness and frailty. I was surprised and charmed, even moved. This Fabrice is also well-known for his committment to education and learning in article was the opposite of what I’d seen in other hip-hop performances, that are all its forms (professional training, appearances at universities and in Watch Fabrice Ramalingom’s typically staged as a battle, presenting a competition between rivals rather choreographic centres, master classes, performance conferences, workshops interview than communicating an actual story. That night at Beltrão’s show, I was also and classes geared towards professionals or dance amateurs). delighted to discover the Brazilian dancer Eduardo Hermanson on the stage, Along with his own choreographic and teaching work, he continues to dance dancing with precision and originality. Seeing this man perform changed my with Anne Collod… Performance created in working residence at Agora, cité internationale de la danse, with perception of hip-hop, and I began to reexamine my prejudices. BNP Paribas Foundation support In November 2014, Hermanson—who goes by the name Willow in the hip-hop community—contacted me through my associate, Astrid Toledo. Thu. 29th & Fri. 30th June — creation — Why did she make such an effort to rise through the ranks and succeed? 6:00 pm To have recognition and success, money, fame? Why this stubborn, blind demand to keep going? Why continue at whatever cost? Why not simply let Studio Bagouet / AYELEN go? Why does she constantly pursue this (forced) movement? Looking for Agora texts related to this character, I stumbled upon The Burnout Society by the German philosopher of South Korean origin, Byung-Chul Han, who clearly Rates explains this disease of our times and our relationship to time. We are part Agora 15€ PAROLIN Reduced 18€ of a ‘high-performance’, ‘excessively positive’ society (as he describes it) that Full 22€ teaches us (we push and condition ourselves) to move forwards, invariably, Agora J+ / + et - 5€ Autóctonos to the point that we totally forget ourselves... And if this has invariably shaped us into perfect “autistic machines” as Han suggests, couldn’t we go as far as to speak of the modern sacrifice? For isn’t this the culmination of the slow, insidious ritual of our daily life? For this new project, I would like to begin with all of these questions, both as a starting point and to affirm a counterpoint to Hérétiques. For although it continues to examine endurance, profitability and productivity in our society, this time however, it is no longer about questioning its power, but exploring its failings, its collapse and its impossibility to build a community. The essence of Autóctonos took root in me without me really noticing it Thus we no longer see a hero or machine-men who believe themselves to be happen: when I read 2666 by Roberto Bolaño, some years ago now. In this omnipotent, but quite the reverse, it is about “simple” humans aware of their book there is one character who stood out from the rest and set off some own contradictions and their own “strangeness”. Neither is this about logic, kind of alarm bell in me, because they touched upon, relatively speaking, my mathematics or even uniformisation in choreographic interpretation, but relationship with time and how I manage time, or more precisely how time instead it is about orchestrating a “whole” whilst asserting differences. For manages me… ultimately, with Autóctonos I would like to manage to find potential paths © arms crosseweb © arms towards a shared ritual, in spite of everything, a ritual to “do battle” with “When I joined the Institutional Revolutionary Party, it was of course to get rich. this ‘excessive positiveness’. I would like to attempt to combine poetry and Except that there are ways and ways of getting rich, and I was tired of talking to a action, roughness and subtlety, violence and order, and to attempt to create 26 — brick wall. I wanted power, I can’t deny that. I wanted to be free to change certain a community, albeit hypothetical… For I believe that it is in the acceptance — 27 A piece for 4 dancers and 1 musician things in this country. I can’t deny that either. I wanted to improve public health, of what is negative, rather than in the cult of “everything is positive”, that Concept & Choreography : we can rediscover ourselves and be together once more. It is precisely the Ayelen Parolin state education and contribute my little stone to prepare Mexico to enter the 21st Performers :Varinia Canto Vila, century. If that was getting rich, I wanted to get rich! Of course, I didn’t get very far. question “how can we still be together again?” which I would like to address Ondine Cloez, Aymara Parola & here. Ayelen Parolin Sophia Rodríguez I certainly acted more out of hope than intelligence, and it didn’t take me long to Musical creation and piano : Lea Petra see my mistake. We believe that from the inside, we can make certain things better. Dramaturgy : Olivier Hespel Artistic adviser : Pierre Droulers Firstly, you try to improve them from the outside, then you believe that from the Light design : Laurence Halloy inside, there will be greater real possibilities. At least, we believe that from the inside, AYELEN PAROLIN was born in Buenos Aires, Argentina, and now lives Costume : Marie Artamonoff Folklore adviser : Milan Herich we will have more freedom of action. False. There are things that don’t change from and works in Brussels, Belgium. She studied at the National School of Dance and the San Martin Theatre in Buenos Aires. In Europe she followed the Production Ruda asbl the outside or the inside. Every day I had more and more work, that’s the truth of it. Co-producers : Festival Montpellier Danse Every day, I was busy with dinners, trips, meetings and projects that never achieved e.x.e.r.c.e formation in Montpellier. As a performer she worked for Mathilde 2017, Kunstenfestivaldesarts, Théâtre les Tanneurs (Bruxelles), Théâtre de Liège, anything. I had no time for anything. My affairs were in the hands of my lawyers Monnier, Mossoux-Bonte, Jean-François Peyret, Mauro Paccagnella, Louise CCN de Tours / Thomas Lebrun, Le Gymnase CDC Roubaix-Hauts de France, (...). My son was in the hands of his teachers. And there I was with more and more Vanneste, Alexandra Bachzetsis, Anne Lopez, and Riina Saastamoinen. Ballet National de Marseille, CDC Atelier de Paris & Theater Freiburg work: hydrographic issues in the state of Michoacan, roads in Querétaro, interviews, She created a solo called 25.06.76, in which she explores her autobiography. With the support of : Fédération Wallonie- Bruxelles – Service de la Danse, WBT/D, equestrian monuments, sewers, all the shit of one district passed through my hands.” With Troupeau/Rebaño she confronts the animal that lies dormant in each WBI, SABAM & SACD Studio support : La Raffinerie / Charleroi/ 2666, Roberto Bolaño of us, and with the piece SMS and Love she questions femininity and its Danses, Théâtre Les Tanneurs, Grand group dynamics. For her work DAVID she contemplates the male figure. For Studio, Studio Cie Thor, Studio Ultima Vez, ZSenne Art Lab, CCN de Tours & Le This character is a woman (which needless to say is already a problem in her work, Heretics, Ayelen Parolin collaborates with composer Lea Petra for Autóctonos Gymnase CDC ON TOUR Ayelen Parolin is in creation residence itself). A powerful woman (yes, this is fiction, even if a few do exist in real the first time. In 2015, she has focused on women. First with the duetExotic for 2016/2017 at Théâtre de Liège, in 2017 administrative residence at Théâtre les life). In any case, she is a woman with a will to succeed in her career and her World and the solo The Esclava, co-written and performed by Lisi Estaràs. In Tanneurs and is accompagnied by Grand October 6 & 7 , Biennale de Charleroi Danse, Les Studio. life… Apparently (socially), she seems to have arrived at where she wants to July 2016, she presented Nativos in the Seoul Arts Center, a new work with be. But the practical reality is quite otherwise. She is “encumbered” by work, four Korean dancers, in which Ayelen sought to reactivate the choreographic Ecuries, Charleroi, Belgium www.ayelenparolin.be where every task becomes increasingly “urgent” and “obligatory”. They are material from Heretics whilst confronting it with Korean culture and in November 17 & 18, Festival Next, CDC - Le particular, its strong shamanic tradition. Ayelen is one of four winners of the Gymnase, Roubaix, France At montpellierdanse.com all spanners in the works, preventing any act of renewal and creativity… I would like to take the example of this strong, successful woman, who is Pina Bausch Fellowship in 2016. For the KunstenFestivaldesArts 2017 she is 2018 Read the full performance preparing a new group project Autóctonos. She has created and shown her March 2018, Festival Les Printemps de Sévelin, article socially where many people would like to be (powerful). But even at this height, in this “ideal” of success, she is exhausted because she is not doing work in Belgium, France, Italy, Spain, Greece, Norway, Finland, Germany, Théâtre Sévelin 36, Lausanne, Swisse Watch previous performance June 2018, Atelier de Paris extract what she wants: caught up in useless excessive work, obligations that lead Austria, Luxembourg, Estonia, Israël, NY, Mexico, Switzerland, Serbia, nowhere and meetings that are nothing more than an immense waste of Holland, South Korea and Argentina. June 29 & 30 2018, Freiburg Theater, Freiburg time, she is trapped by the inertia of excess. im Breisgau, Germany Thu. 29th & Fri. 30th June — creation — Does your writing, based on metamorphosis, reflects the Cape Verde MARLENE MONTEIRO FREITAS 8:00 pm culture in witch you grow up ? AT MONTPELLIER DANSE My interested on deformation comes, without doubts from multiple 2013 (M)IMOSA Opéra Comédie MARLENE carnivals that I’ve been through my childhood. These grotesque shapes 2014 de marfim e carne – as estátuas também fascinated me, by this idea to go out in the street to disturb the order and the sofrem Rates parameters of the beautiful and the ugly. Behind the grotesque dimension 2016 Jaguar et Paraíso – colecçao privada ère € Agora 1 série 25 of my plays, there is certainly a desire to break the limits of the esthetically Reduced 1ère série 28€ MONTEIRO Full 1ère série 35€ correct, to try something else. So, in the Cape Verde, music and songs aim less passing trough ideas or messages than affects and feelings, which we Unique rate : can read on people’s faces. It is similar in my dance. Aristotle says that the 2e série 15€ FREITAS Agora J+ / + et - 5€ human being is a political being because language allows him to know what Bacchantes is right or wrong, fair or unfair, that is what differentiate us from animals Prelude to a purge which has just voice and can discern between pleasure and displeasure. It’s a very ancient thought, but that, in a way, still governs our imagination, our world’s view and understanding. By working on affects rather than on sense, I can embody things that we cannot necessarily name, I open the imagination. In a certain way, the metamorphosis speaks about our multiple «I»; it allows creating over determinate situations and heterogeneous beings — 29 « There may he many shapes of mystery, that carry their paradoxes. It obliges us to throw our imagination in various

© Andreas Merk © Andreas And many things God makes to be, ways on what we see. Montpellier Danse, février 2016 Past hope or fear. And the end men looked for cometh not, MARLENE MONTEIRO FREITAS, dancer and choreographer, was born in And a path is there where no man thought. Cape Verde where she co-founded the Compass company. She studied dance 28 — So hath it fallen here » at P.A.R.T.S. (Brussels), to E.S.D. And the Fundação Calouste Gulbenkian Choreography : (Lisbon) and is part of a group of Portuguese artists «Bomba Suicida» created Marlene Monteiro Freitas Les Bacchantes, Euripide With : Andreas Merk, in 97 by the dancer and choreographer Tania Carvalho, affiliated to the punk Bacchantes Betty Tchomanga, Cookie, Cláudio Silva, Flora Détraz, In Euripides, delirium, irrationality, hysteria, madness are traversed, from movement. Prelude to a purge Gonçalo Marques, Guillaume Gardey illusion to blindness and from blindness to revelation. Ferocity and the She has been spotted since the mid-2000s and especially in France in the ON TOUR de Soos, Johannes Krieger, Lander Patrick, Marlene Monteiro desire for peace, savagery and the aspiration for a simple and peaceful life shows of Boris Charmatz, Loic Touzé. She created d’ivoire et chair – les 2017 Freitas, Miguel Filipe, Tomás Moital, are articulated. Opposite and contradictory directions, the clash of elements statues souffrent aussi (2014) ; Paradis – collectio, privée (2012-13) ; (M) July 4 & 5, Hellenic Festival, Athènes, Greece. Yaw Tembe Light & space : Yannick Fouassier utmost ambiguous, dismembered bodies, social statutes put at strain, faith imosa (2011), a collaboration with Trajal Harell, François Chaignaud and August 24, 25 & 26 International Summer Music : Tiago Cerqueira and beliefs stress tested... Miracles! Cecilia Bengolea, Guintche (2010), A Seriedade do Animal (2009-10), Uns e Festival, Hambourg, Germany. Scenic accessories : João Francisco Figueira, Miguel Figueira This is the moral and aesthetic world that the author invites us to traverse Outros (2008), A Improbabilidade da Certeza (2006), Larvar (2006), Primeira August 29 & 30, Theater Spektakel, Zurich,

Co-production : Festival Montpellier and which we accept, leading us to the depths of the human psyche, under Impressao (2005. Sweden. Danse 2017, TNDMII (Lisbonne), Kunstenfestivaldesarts (Bruxelles), forces beyond reason. September 2 & 3, La Batie , Genève, Suisse. steirischer herbst festival (Graz) & In “Bacchae - Prelude to a Purge», music, dance and mystery lead us as September 7, 8 & 9, Festival Todos, Lisbonne, Alkantara (Lisbonne) avec le soutien du NXTSTP - Programme Culture de funambulists over the wire of intensity, in a combat of appearances and Portugal. l´Union européenne; NorrlandsOperan (Umeå); Bonlieu Scène nationale (Annecy) dissimulations, polarized between the fields of Apollo and Dionysius. October 6 & 7, Steirischer Herbst, Graz, Austria. & La Bâtie-Festival de Genève (Geneva) dans le cadre du soutien FEDER du programme Marlene Monteiro Freitas October 18 & 19, TNBA, Bordeaux, France. Interreg France-Suisse 2014-2020, Teatro Municipal do Porto (Porto), Le Cuvier – November 18, Kurtheater, Baden, Suisse. Centre de Développement Chorégraphique (Nouvelle-Aquitaine), HAU Hebbel am Thirteen dancers on stage, on what does this number of dancers November 25 & 26, Kammerspiele, Munich, Ufer (Berlin), International Summer Festival Kampnagel (Hamburg), Athens and contribute to the performance ? Germany. Epidaurus Festival (Athènes), Münchner It is a significant number of participants, but they will not participate as December 5 & 6, Bonlieu, Annecy, France. Kammerspiele (Munich), Kurtheater Baden (Baden); SPRING Performing Arts Festival «a mass». Even if the idea of the chorus is present, the stage will be rather December 13, 14, 15 & 16, Centre Pompidou, (Utrecht), Zürcher Theater Spektakel (Zurich); Nouveau Théâtre de Montreuil – a union of independent voices. I’m interesting in the breath and the Paris, France. centre dramatique national (Montreuil), Les Spectacles Vivants / Centre Pompidou (Paris) wind, particularly in the carnival, joyful, strident, and sad trumpet’s way - December 18, 19, 20 & 21, Nouveau Théâtre de Avec le soutien, pour les résidences, de TNDMII (Lisbonne, PT), O Espaço particularly contradictory feelings Montreuil, Montreuil, France. do Tempo (Montemor-o-Novo, PT), Montpellier Danse à l’Agora, cité 2018 internationale de la danse, Bonlieu Scène nationale Annecy (Annecy) ; Le Cuvier – Do we have to discern the performance as a purge. For the audience, for January 25 & 26, NorrlandsOperan, Umea, Centre de Développement Chorégraphique the dancers? Suède. (Nouvelle-Aquitaine); ICI - centre chorégraphique national Montpellier / Purge has to be understood in the sense of catharsis, of the emotional unload Occitanie - Direction Christian Rizzo - dans le cadre du programme de résidence Par/ICI or simpler of estimated of the sensation (and not of the sense). It is a given Thanks to : Alain Micas, Bruno Coelho, Christophe Jullian, Louis subtitle that I retained due to his capacity of poetical suggestion. “Purge», Le Risbé, Manu Protopopoff ; ACCCA – Companhia Clara Andermatt (Lisbonne, in the sense of liberation, of an unload, maybe essential to the idea of the PT); Escola Superior de Música de Lisboa, Performance created in working residence at Escola Superior de Teatro e Cinema tragedy, as something that should be lived physically, intensely. There is no Agora, cité internationale de la danse, with idea of sin, in the christian or in a different sense. There is music, dances, the BNP Paribas Foundation support http://cargocollective.com mystery, ghosts, images, desire, etc Sat. 1st July 6:00 pm — creation — NADIA BEUGRÉ begins to perform in the Dante Theater, exploring NADIA BEUGRÉ traditional dances from Ivory Coast. In 1997 she takes part in the creatio AT MONTPELLIER DANSE Théâtre la Vignette of the dance company Tché Tché with Béatrice Kombé. Winner of several 2000 Sans repère with Tché-Tché company prizes, the company is invited to perform and give master classes in several Rates NADIA Agora 15€ countries. Reduced 18€ In parallel, she creates her first solo, Un espace vide: Moi (an empty space: Full 22€ Agora J+ / + et - 5€ BEUGRÉ myself), performed in England, France, Burkina Faso, Tunisia, and the United States. She graduates the “choreographic tools” formation (Ecole des Sables with Germaine Acogny, Sénégal) and then enters Mathilde Tapis Rouge Monnier’s formation for emerging choreographers : Ex.e.r.ce “Dance and Image” in 2009, where she actually starts to work on her solo Quartiers Libres. It premiered at the Théâtre de la Cité Internationale in 2012, and was then performed in the United States, in several French and European cities and in Brazil. In August 2015, her next piece Legacy premieres at La Bâtie, festival of Genève in Switzerland, and tours at the Théâtre de la Cité Internationale in the frame of the Festival d’Automne in Paris, in Bergen (Norway), and many French cities. Legacy will be shown shortly in other French and German theaters. Her last creation, Tapis Rouge, was inspired by a short piece designed The red carpet I’m thinking about is the one used by the actors of the Tapis Rouge with Sébastien Martel in 2014 for the Festival d’Avignon, and will be first star susyem, but also the one regulary trodden by the statesmen officially ON TOUR shown during the “Vivat la Danse!” festival in Armentières (France) in invited by African countries to negotiate advantageous exploiting contracts 2017 January 2017. Nadia Beugré also collaborated as a performer on works by concerning the rich seas, land and subsoil of the African continent. This November 28, Le Parvis, Tarbes, France. Seydou Boro (Burkina Faso), Alain Buffard (France), Dorothée Munyaneza brings us back in the past, to the age when illustrious people used to November 30, December 1 & 2 , Théâtre (France/Rwanda). She will be dancing in the next piece by Boris Charmatz. © Knut Klassen © Knut ambulate on vermillion fabric diring the ceremonies. Thus the red carpet Garonne, Toulouse, France. imposed himself, from the old celergy to the current stars, as a holy and isolating material that would protect who walks on it from any contact with this lowly world and its difficulties. The march of the visitor takes place on 30 — this sacred skin in a ritual in service of its progress. — 31 Choreography and performance : Nadia Beugré Musical direction and dramaturgy : Nevertheless, even before being red, this cacrpet is isolating and hiding Seb Martel what it’s covering. Under the carpet there is, for what concerns Africa, an With : Adonis Nebié Artistic advisor & dramaturgy : exploited humankind lacking ofjob security that constitutes, with the blessing Boris Hennion of the local gouvernments, an unqualified workforce. This people will Technical director and scenography : Erik Houllier perform ungrateful and dangerous tasks, necessary tothe mining extraction. Sound creation and performance : Under the carpet, we find bodies harmed by inhuman working conditions Thomas Fernier Stage manager and figuration: who clear out the ground to make it inviting for new infrastructures. Aurélien Menu Frequently that means getting in touch with harmful materials, without Production déléguée : being aware of the risks. those bodies are folded, broken, frequently forced Latitudes Prod. - Lille Co-production : Festival Montpellier into extremely narrow spaces. Danse 2017, Le Vivat, Scène Conventionnée danse (Armentières), Musée de la danse, Centre Chorégraphique National (Rennes), Ballet national de Hence there is a body artificially sacred walking on a red carpet and under, DARMSTADT, Festival d’Automne à Paris, Théâtre Garonne (Toulouse), BIT another bullied one. My idea is to unveil little by little the details of this Teatergarsjen (Bergen), La Bâtie, Festival de Genève, Le Parvis Scène Nationale tension to give the audience time to figure out its place and position in the (Tarbes) device. With this show I will dig deeper and deeper in the archives of the With the support of the Région Hauts- de-France underground violence to roll out a red carpet for those usually under it. Nadia Beugré At montpellierdanse.com

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Watch previous performance extract Sat. 1er July 8:00 pm How do you explain this philosophy of the body that is yours alone, and MARIE CHOUINARD that you built while performing as a solo artist for fifteen years? AT MONTPELLIER DANSE Opéra Berlioz / I invite the dancers to venture into zones of freedom and internal research. 2007 Prélude à l’après-midi d’un faune and Le Le Corum MARIE It is only by doing that that they will see movements we cannot name Sacre du printemps Rates emerge. If I talk to them about the face, for instance, I try to make them feel Agora 1st range 27€ comfortable, in order for the masks they might be hiding behind to fall away. 2nd range 21€ Reduced 1st range 30€ I’ll tell them that the face is like the surface of a lake in which their inner nd € CHOUINARD 2 range 24 movements are reflected, that they need to let it change, that they shouldn’t Full 1st range 38€ 2nd range 30€ censor themselves. That’s when some truth will come out and be shared with Soft virtuosity, still the audience. I try above all to give dancers the opportunity to live the stage Unique rate : fully by creating specific circumstances that will reveal them. It’s true that 3rd range 16€ 4th range 10€ dancing on my own for so long gave me an intimate understanding of the € humid, on the edge Agora J+ / + et - 5 act of performance; so when I direct them, I know exactly what it means for them to delve into those states of engagement.

There is in the show a moment where your dancers seem trapped, like the refugees crossing the Mediterranean are aboard their boats… While working on the show, I pictured the great disasters of classical In your shows, walks have various meanings. Here, they are specific paintings, those wrecked ships and tormented faces. It can make it seem presences that recur throughout. Every individual follows his or her own topical, but war and deportations have been topical for centuries. And in trajectory, but together, they look like they could be depicting the walk of this play, there is indeed a form of violence that wasn’t visible at the time and Mankind. that I noticed only later. Generally speaking, inspiration to me comes from Walking is a way of wandering through everything that’s possible. As a the presence of the body in the empty space of the studio, which is like a young dancer, I used to watch how people moved and walked. I watched sacred time, a sacred place. A body and its multiple articulations, thoughts, © Laurence Labat © Laurence various little things that happened in their knees, their shoulders, their sensations, even its breath. My raw material is the phenomenon that is living. ankles. It fascinated me, and still does, to see how each person’s walk is like a As a result, all my shows have a vital violence to them that can then be linked personal dance. When a body bends because it has been twisted, or because to various events of life. Interview conducted by Francis Cossu Translated by Gaël Schmidt-Cléach 32 — something is in the way, it moves differently through space. For this show, — 33 Choreography and Video: Marie I indeed asked the dancers to walk and then accentuated their moods and Chouinard Dancers: Charles Cardin-Bourbeau, worries, because the body transforms based on our emotional or psychic Sébastien Cossette-Masse, Catherine circumstances. It allowed me to experiment with new architectures of the Dagenais-Savard, Valeria Galluccio, MARIE CHOUINARD began her career as a dancer in 1978. For twelve Motrya Kozbur, Morgane Le Tiec, body. It’s a very playful process. Scott McCabe, Sacha Ouellette- years, the Quebec-born choreographer, now working in her own venue in Deguire, Carol Prieur, Clémentine Schindler Those walks would probably not have the same weight without the faces Montreal, experimented with the different dimension of her body, of its Music: Louis Dufort and eyes of your dancers, which you shoot in close-up directly onstage. relationship to mind and to matter. Over that time, she created almost thirty Set design and Props: Marie Chouinard Lights: Marie Chouinard, Robin Kittel- I couldn’t quite say why, but what interested me from the start was to work different shows, including Cristallisation (1978), Marie Chien Noir (1982), Ouimet on the relationship between walking on the one hand and our faces and their Space, Time and Beyond (1986), and L’Après-midi d’un faune (Afternoon of Costumes: Marie Chouinard Video Consultant: Jimmy Lakatos details on the other: a mouth that slowly relaxes, a gaze that changes… a Faun, 1987). In 1990, now internationally-renowned for her unique talent, she decided Production Compagnie Marie Chouinard In the constant transformation of every aspect of our bodies, the face, Co-production Colours International to collectively question “that vital impulse of the body” that so fascinated Dance Festival (Stuttgart) including its muscles and nerves, changes based on what it intimately With the support of International Dance experiences. Ideally, I would want the entire audience to be sitting in the her, leading to the creation of Les trous du ciel (The Holes in the Sky), her Festival ImPulsTanz (Vienne) Thanks to the Quebec Arts Council, the front row to see what’s going on, to be able to enter this work. And because I company’s first show. She followed that up with numerous major works from Canada Arts Council au and Montreal Arts Council. had this physical need to show faces, the use of cameras, in real time, seemed the contemporary repertoire such as The Rite of Spring (1993), 24 Preludes obvious. At other times, faces are covered, uncovered, re-covered. I like this by Chopin (1999), Le Cri du Monde (The Cry of the World, 2000), or bODY_ www.mariechouinard.com cycle of appearance and disappearance. rEMIX/gOLDBERG_vARIATIONS (2005). Her research, which she defines as “a vanishing point towards the unspeakable,” takes diverse forms, from At montpellierdanse.com There’s an undeniable extrasensory dimension to the show, a resonance of poetry to drawing, from photography to cinema, from installation art to new virtual technologies. Read the full performance the bodies, one with the other of course but also with the light, the music. article I think the right word would be hypersensitivity. I’m looking for states of

Watch previous performance bodies that would be alert and permeable, in order to recreate this form of extracts intelligence that constitutes us, psychically, physically, organically. I see the Watch Marie Chouinard’s body as an antenna, a seismograph. In my show, the whole body – its senses, interview its pores, its cells – is on alert in order to record the constant fluctuations, be they visible or invisible – like the air, or currents – that surround it. It’s like trying to go forward while holding the reins of wild horses. It requires of the performers a high level of self-control and a hypersensitive presence. They are energetic, strong, centered, and at the same time attentive and openminded. Sun. 2nd & of transformation of a corporal, psychic, emotional, mental state… This MARCELO EVELIN Mon. 3rd July — creation — constant process of transformation is one element I consider very important AT MONTPELLIER DANSE 2014 Matadouro 8:00 pm in dance. I see dance as a process of dissolution of rigidness, as something more fluid that somehow determines the bodies continuously, along with the friction of these bodies with other bodies, with the world, with the questions hTh / Grammont MARCELO that permeate all of this. Lately, I think of language as something outside of

Rates itself, as the dismantling of language. Again, as transformation, precisely to Agora 15€ take itself elsewhere. Reduced 18€ EVELIN Full 22€ Agora J+ / + et - 5€ You spoke a lot about the idea of ailment as transformation, and I feel like the piece also has the idea of Death as one of its apparitions... Dança Doente I feel the state of sickness in this piece has to do with this complete (Sick dance) destabilizing of the body and all the processes that keep the body alive. Death is almost the flip side of an enormous potency for life. It is the other side but also it’s life’s siamese twin sister. Intuitively, I feel that the potency for life is very close to an absolute state of death. What fascinates me in death is this idea of utterness, death is death, something we know is going to happen and is absolutely determinant in our life. The question would be: how can we Or how did the idea of Dança Doente (Sick Dance) come about? exist in life with decisiveness, with the magnitude that we’re going to exist in Dança Doente (Sick Dance) came from sort of a fascination with the universe death? of Hijikata Tatsumi, the Japanese choreographer who created the Butoh I usually think that dead people live inside of us, and Hijikata’s dance was dance form. Since 2008, images of him and his aesthetic propositions have wholly permeated by this, as he said he spent his entire life dancing with his been roaming through my work, but when I started going to Japan in 2011, dead sister inside his body. So he spent his life feeding a dead sister, a dead these images began resonating more strongly with my universe and to a

© Sho Takiguchi © Sho body, and I think it gave enormous potency to his life. This whole idea of lot of my questions as a choreographer, as an artist… Sick Dance has been haunting, of ghosts, the Japanese conception of it is that it comes through developing from there with the two crucial questions that are in the title. The a kind of sensation, a vibration in the air, that they call kehai. The idea first is the idea of Dance. What is dance today? What can we do with dance? of spectre is very important to me in this process, but not in the western How can we think of dance as the activation of a corporal state which leads 34 — comprehension, of a ghost that is related to a personality. Kehai establishes to a state of common? Dance as a type of standpoint that is determinant in Marcelo Evelin/Demolition itself in space and comes as a situation that occurred, a tremor in the air. Incorporada the political and artistic conjuncture of the world. This is a question that was Didi-Huberman speaks a lot of the unfolding of images and the apparitions — 35 Concept and Choreography always strongly brought up by Hijikata, we he tried to formulate a dance that Marcelo Evelin that are created as these images unfold. I don’t know exactly how to go into Creation and Dance : Andrez Lean was specific to his standpoint. I think his insistence with the idea of dance that, but I am rather curious, almost as a technical element of this research, Ghizze, Bruno Moreno, Carolina brought forward my insistence and my questions, as well as an enormous Mendonça, Fabien Marcil, Hitomi to unfold Hijikata’s images, not in the sense of making them visible, but to Nagasu, Marcelo Evelin, Márcio desire to create a dance piece, questioning, in this piece, exactly what dance Nonato, Rosângela Sulidade, Sho create space for the spectre in those images that ravage me somehow. Takiguchi has always meant to me. Interview conducted via Skype on December 7th, 2016. Dramaturgy : Carolina Mendonça The other question is the idea of sickness. The “sick” in the title comes from Artistical collaboration : Loes Van der Pligt Hijikata’s last work, which is this book called “Ailing Dancer”. A book I MARCELO EVELIN is a choreographer, performer and researcher. He Light : Thomas Walgrave have never been able to read because there is no translation, but that I can Sound : Sho Takiguchi lived mainly in Europe from 1986, working in the field of dance and physical Research Advice : Christine Greiner imagine from what I hear. It’s almost a danced autobiography, a book where theatre and collaborating with professionals who have a variety of languages, he resorts to images of childhood, adolescence, of how everything began Production : Materiais Diversos + Regina nationalities and experiences, as well as in projects involving music, video, Veloso/Demolition Incorporada building up for him; he goes back to all the questions which guided his work Co-production : Festival Montpellier installation and the occupation of specific spaces. He is in residence at Danse 2017, Brazilian Government during thirty years. From the book I got this idea of an ailment, which is also (This project was awarded by Prêmio Hetveem Theater in Amsterdam with his company Demolition Inc. , and Funarte de Dança Klauss Vianna 2015), very present in his works, and started putting it all together, asking myself Kunstenfestivaldesarts (Bruxelles), Teatro teaches improvisation and composition at the Mime School in Amsterdam Municipal do Porto - Rivoli - Campo how we could understand dance as a Symptom. The symptom is exactly which also creates projects and guides students in creative processes. He Alegre (Porto), Festival d’Automne à Paris / T2G-Théâtre de Gennevilliers (Paris), that moment where the body alters and shifts its perception of itself. A runs workshops and collaborative projects around Europe, America, Africa Kyoto Experiment KEX (Kyoto), Spring subjective description of a condition by the body itself. There is a difference Festival (Utrecht), HAU Hebbel Am Ufer/ and South America, as well as in Brazil where he returned in 2006. He has Dança Doente Tanzimaugust (Berlin), Teatro Municipal between symptom and diagnosis. The diagnosis is what the doctor, through Maria Matos (Lisbonne), Alkantara also been working as a manager and curator, coordinating a platform of ON TOUR (Lisbonne), Mousounturm (Frankfort), his technique, is able to assess and give a name to. The symptom is a shift, a Goteborg Festival, TanzHaus (Dusseldorf), independent artists, the Núcleo do Dirceu in Teresina, Piauí, which also 2017 Vooruit (Gent), NXTSTP - avec le soutien subtle altering of the perception in your own body, of your own existence, du EU Culture Programme undertakes research and development in contemporary performing arts. Septembre 6, La Bâtie, Geneva, Swiss Residency : Teatro Municipal do and can only be described by the patient. So, Sick Dance is a piece that’s Porto/Rivoli - Campo Alegre (Porto), Núcleo has twice been recognised by the São Paulo Association of Arts Septembre 29 & 30, Teatro Maria Matos, Lisboa, Mousounturm (Frankfurt), CAMPO | being built around these questions. Critics (APCA): in 2008 for the “Best Public Policy for Dance”, and in 2011 gestão e criação em arte contemporânea, Portugal. Teresina-Piauí, PACT Zollverein (Essen), for “Production, Formation, Creation and Diffusion in Dance”. Marcelo’s October 6 & 7, Rivoli Teatro, Porto, Portugal. Vooruit (Gent), Studios C de La B (Gent) Listening to you, it seems like the relationship you establish with more recent pieces, Bull Dancing (2006) and MONO (2008), have been October 18 & 21, Festival d’Automne, Paris, www.materiaisdiversos.com Hijikata’s universe, and with the dance itself, has less to do with the form performed in Brazil and abroad. With Núcleo do Dirceu, he premiered France. and more so with an investigation of what dance is as language At montpellierdanse.com MATADOURO in November 2010 at the Panorama de Dança Festival in October 27 & 28, TanzHaus, Dusseldorf, One of Hijikata’s propositions that interests me the most, which was one of Rio de Janeiro before performances at the Galpão do Dirceu in Piauí and the Germany. Read the full performance the first questions to come up in this process, is the idea of separating the article SESC Arts Exhibition in São Paulo. This work concludes the trilogy based November 3 & 4, Kyoto Experiment, Kyoto, body from language. This still is incisive in the piece, almost an impossible Watch previous performance on Euclides da Cunha – the land in Sertão (2003), the man in Bull Dancing Japon. extracts question to face, and this side of it also interests me. What I feel Hijikata and now, in Matadouro , the fight – and has been performed in Brazil, Japan, has done is exactly not considering dance as a form, but mainly as a process Belgium, the Netherlands and Portugal Mon. 3rd & Tue. 4 th July — creation — DANIEL LINEHAN’s choreographic work is intent on softly obscuring the DANIEL LINEHAN 6:00 pm line that separates dance from everything else. He approaches performance- AT MONTPELLIER DANSE making from the point of view of a curious amateur, testing various 2010 Not about everything Studio Bagouet / DANIEL interactions between dance and non-dance forms, searching for unlikely 2012 Zombie Aporia Agora conjunctions, juxtapositions, and parallels between texts, movement, images, songs, videos, and rhythms. Rates € LINEHAN Agora 15 Reduced 18€ Linehan first studied dance in Seattle and then moved to New York in Full 22€ 2004. His work first came to public attention in 2004 with the soloDigested Agora J+ / + et - 5€ Flood Noise, presented in Fresh Tracks at Dance Theater Workshop. In 2005 and 2006, he worked with a team of four other dancers to create The Sun Came and Human Content Pile. In 2007, Linehan premiered the solo Not About Everything, which has since been presented in over 75 venues internationally. In 2008, Linehan moved to Brussels where he completed the Research Cycle at P.A.R.T.S. His works created in Belgium include Montage for Three (2009), Being Together without any Voice (2010), Zombie Aporia (2011), Flood Gaze is a Gap is a Ghost (2012), and th Karaoke Dialogues (2014). ON TOUR 2017 Flood is a choreography of appearances and disappearances. When someone July 13, Julidans, Amsterdam, Netherlands. enters a space, there is an immediate sense of anticipation: what is this October 11, Les Théâtres de la Ville de person going to do? When someone exits, suspense and curiosity also arises: Luxembourg, Luxembourg. where did that person go? When will they return? Through these simple November 14 & 15, Le Lieu Unique, Nantes, actions, the performance reflects on appearance and disappearance as a France. dominant mode of experiencing the world today, at a time when accelerating © Olivia Droeshaut © Olivia technological development also means an accelerating loss of older techniques and beliefs, not to mention an accelerating deterioration in the natural environment. 36 — — 37 Hiatus Concept, Choreography : Daniel In between the entrances and exits the dancers perform a series of Linehan movements that seem to repeat, but in fact are in a constant state of Dance, creation : Michael Helland, Vicor Pérez Armero, transformation; older fragments of movement are lost and replaced by Anneleen Keppens, Erik Eriksson newer, updated versions of the same movement. The dancing accelerates as Dramaturgy : Vincent Rafis Scenography : 88888 body parts shoot through the space like tiny missiles projected toward and Costumes : Frédérick Denis away from the self and others. At other moments, the dancing suddenly assist by Charlotte Matterne Son : Peter Lenaerts decelerates, revealing details that would otherwise be invisible at such high Light : Elke Verachtert speeds. Flood looks at the dominance of “high-speed” values, and wonders Production : Hiatus (Brussels) if it is really possible to interrupt this trend of acceleration by intentionally Executive production : Caravan Production (Brussels) slowing down. Co-production : Festival Montpellier Danse 2017, deSingel Campus des Arts International (Anvers), Centre Chorégraphique National de In the midst of our throwaway society and the flood of new technologies Rillieux-la-Pape (FR) Residency : STUK (Louvain), Kaaitheater and ever-more frequent product updates, Linehan questions the cultural (Bruxelles), deSingel Campus des Arts International (Anvers), Charleroi Danses, dominance of the new. At the same time, he considers what is disappearing La Raffinerie (Bruxelles), Centre Chorégraphique National de and what is becoming superfluous as our social behaviors and our Rillieux-la-Pape. surroundings transform at an ever-faster pace. With the support of The Flemish Government. dlinehan.wordpress.com

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Watch previous performance extracts Program 1 Tue. 4 th July Adagio Hammerklavier (1973) Frank Bridge Variations (2005) Piecefor 10 dancers 8:00 pm Van Manen created Hammerklavier in 1973, He was inspired by Christoph Music : Benjamin Britten, Variations DUTCH Eschenbach’s performance of the adagio from Beethoven’s Piano Sonata no. on a Theme of Frank Bridge (opus 10) Program 2 : Introduction and Theme, Adagio, th 29 in B major, which takes four minutes longer than performances by other March, Bourrée Classique, Wiener Wed. 5 July Walzer, Moto Perpetuo, Funeral March, pianists. In his piece for three soloist couples – which he calls ‘an ode to Chant, Fugue and Final 8:00 pm NATIONAL deceleration’ – Van Manen subjects the music to deep investigation, in order Set and costume design : Keso Dekker to find out just how slow a movement can be. Lighting design : Bert Dalhuysen Opéra Berlioz / Le Corum Program 2 BALLET— Two Gold Variations (1999) Metaforen (1965) For his creation, Van Manen was inspired by two movements from Jacob Piece for 12 dancers Music : Daniel-Jean-Yves Lesur, Rates ter Veldhuis’ Goldrush Concerto: music that he says ‘swings like hell, st € Variations pour orgue et orchestre Agora 1 range 28 à cordes (1920) 2nd range 22€ HANS VAN MANEN with incredibly wild rhythmic passages and an extraordinarily interesting Set and costume design : Jan van der Reduced 1st range 32€ succession of instruments’. Two Gold Variations has no continuous narrative Wal, Jean-Paul Vroom 2nd range 26€ storyline. The choreographer wanted the dancers to be doing new, different Light design : Jan Hofstra Full 1st range 40€ nd € Tribute to Hans van Manen things all the time. But eventually, everything comes together and the ballet Adagio Hammerklavier (1973) 2 range 32 Piece for 6 dancers Adagio Hammerklavier / Two Gold Variations / evokes an atmosphere of an increasingly heated dialogue between man and Music : Ludwig van Beethoven, Third Unique rate : woman, multiplied by six other couples. part from the Piano Sonata no. 29 in B 3rd range 16€ Sarcasmen / Frank Bridge Variations / Metaforen Major, Sonate für das Hammerklavier 4nd range 10€ Piano : Olga Khoziainova Set and costume design : Agora J+ / + et - 5€ Sarcasmen (Pianovariations II) (1981) Jean-Paul Vroom Hans van Manen’s Sarcasms is apparently a tongue in the cheek duet, Light design : Jan Hofstra characterized by irony. At first the two dancers try to maintain the illusion Frank Bridge Variations (2005) that they are absolutely not interested in each other, while everything they do Nous avons fêté cette année nos 55 ans et nous sommes devenus l’une des Piece for 10 dancers is focused on the other person. The eternal game of attraction and repulsion Music: Benjamin Britten, Variations on plus importantes compagnies de ballets dans le monde avec un répertoire a Theme of Frank Bridge (opus 10) : is poured into a sharp, clear motion style that combines academic ballet vaste et très étendu. Notre répertoire comporte des ballets du XIXe et Introduction and Theme, Adagio, technique to everyday gestures and facial expressions. March, Bourrée Classique, Wiener du XXe siècle avec un accent spécial sur les ballets de Balanchine et des Walzer, Moto Perpetuo, Funeral March, In a strict sense this is not a duet (pas de deux). There is in fact a third person Chant, Fugue and Final chorégraphes internationaux tels que Jérôme Robbins, William Forsythe involved in the game, that is the piano player. The ballet gets increasingly Set and costume design : Keso Dekker © Erwin Olaf en passant par Fokine et Martha Graham. Une partie très importante des Lighting design : Bert Dalhuysen sexy, although in quite a humorous way. ballets est également créée pour notre compagnie dans les années 60 par les Production : Dutch National Ballet — 39 With the support of Ministry of trois chorégraphes qui ont définis son identité : l’ancien directeur Rudi Van Education, Culture and Science Dantzig, Toer van Schayk et maintenant Hans van Manen. www.operaballet.nl Frank Bridge Variations (2005) 38 — Le Dutch National Ballet compte 75 danseurs à Amsterdam. Nous avons Frank Bridge Variations was the first work that Hans van Manen created Dutch National Ballet aussi une compagnie junior depuis trois ans. Dans l’ensemble nous arrivons With the support of Dutch Performing Arts on his return to Dutch National Ballet in 2005, and it was a ‘direct hit’, and the Netherlands Ministry of Foreign Direction : Ted Brandsen à avoir 88 danseurs pour nos grosses productions et nous en avons besoin according to the press. The starting point is Brittens compositionVariations Affairs Tribute to Hans van Manen car beaucoup de ballets ont été créés à une époque ou il y avait plus de on a Theme of Frank Bridge, that he wrote as a tribute to his teacher Frank Programe 1 danseurs que maintenant. Nous comptons en ce moment plus de 25 Bridge. The composition for string orchestra consists of eleven virtuosic, Adagio Hammerklavier (1973) nationalités comme beaucoup d’autres compagnies internationales. Hans Piece for 6 dancers distinctive and sometimes parodic variations on a theme borrowed from Music : Ludwig von Beethoven, Third van Manen est encore actif à 84 ans et a créé plus de 140 ballets qui sont part from the Piano Sonata no. 29 in B Bridges string quartet Three Idylls. Van Manen uses nine of the eleven dansés par plus de 70 compagnies dans le monde. Depuis 2005, il est attitré Major, Sonate für das Hammerklavier variations, in which he creates nine contrasting miniatures – from sharp Piano : Olga Khoziainova au Dutch National Ballet. Il n’est pas seulement reconnu aux Pays-Bas mais Set and costume design : to flowing, and from passionate to melancholic – together form a unity partout dans le monde sauf malheureusement en France. C’est dommage Jean-Paul Vroom that is as natural as it is amazing. Frank Bridge Variations is dedicated to Light design : Jan Hofstra car il y a commencé sa carrière et a dansé avec Roland Petit dans les années choreographers Sol León and Paul Lightfoot. 50. D’ailleurs, il part tous les ans en vacances dans le sud de la France ! Two Gold Variations (1999) Piece for 14 dancers Aujourd’hui, c’est pour lui très important de pouvoir présenter ses œuvres Music: Jacob ter Veldhuis, Goldrush Concerto : Goldmine and au Festival Montpellier Danse. Pour démontrer son importance, c’est lui qui Metaforen (1965) All this Gold this Mountain a fait le lien entre la danse contemporaine inspirée de Martha Graham et la has (1997) Metaforen is one of the ‘early’ Van Manen masterpieces, created precisely Set and costume design : Keso Dekker danse classique. Il a trouvé un moyen, un style qui lui convient. Il a toujours fifty years ago for . The piece is a clear, extremely Light design : Joop Caboort créé des ballets courts, de 20/30 minutes et n’a jamais voulu créer des ballets refined interplay of forms, whereby mirroring and symmetry play important Sarcasmen (Pianovariations II) (1981) narratifs. Avec Jean-Paul Montanari et Hans van Manen, nous avons choisi Pièce for 2 dancers roles. And already in those days, the choreographer excelled at evoking a différentes œuvres qui montrent différents aspects de son travail. Des ballets Music : Sergej Prokofjev, world of human emotions and tensions with a single glance or movement. Cinq Sarcasmes opus 17 qui datent des années 60 et d’autres plus récents afin de montrer un éventail Piano on stage : Robert Greuter Highlights of the ballet are the male duet, which was revolutionary at the Costume design : Hans van Manen des œuvres qu’il a créées tout au long de sa carrière. Ted Brandsen Light design : Jan Hofstra time, and a wonderfully calm female adagio, where the women dance hand in hand. In 1965, the male duet was regarded by many as a plea for homosexual rights and emancipation, although this was not Van Manen’s intention at all. His sole concern was to show that an abstract classical pas de deux could be danced equally well by two men – including a shoulder lift that was seen as shocking at the time. HANS VAN MANEN has succeeded in bringing modern ballet – as a HANS VAN MANEN combination of classical ballet and modern dance and movement techniques AT MONTPELLIER DANSE – to a wide audience. Van Manen’s international fame is widespread, 1986 Ballet Scenes with le Nederland Dans illustrated by the fact that his ballets are performed by more than fifty Theater companies worldwide. The international stars who have performed his ballets include Anthony Dowell, Marcia Haydée, Natalia Makarova and Rudolf Nureyev. To date, Van Manen has created more than 120 ballets. Besides being a choreographer, Hans van Manen has also been active as a photographer for ten years. His work has been included in international books and exhibitions. Hans van Manen, born in 1932, had his first ballet lessons in the late forties from Sonia Gaskell, who engaged him in her group Ballet Recital in 1951. Van Manen went on to dance with the Netherlands Opera Ballet and Roland Petit’s Ballets de Paris. In 1957, he made his debut as a choreographer with the ballet Feestgericht, which received the State Award for Choreography. From 1961 onwards, Van Manen has worked alternately with the two main dance companies of the Netherlands. After co-directing Nederlands Dans Theater, he became a resident choreographer – first with the Dutch National Ballet, then with Nederlands Dans Theater. Since 2005, he works at Dutch National Ballet as permanent choreographer. In September 2017, Hans van Manen will open the season of the Opera of Paris with Trois Gnossiennes.

TED BRANDSON Ted Brandsen took his first steps as a choreographer in 1985, in Dutch National Ballet’s annual choreographic workshop. In the years that followed, he created works for various companies in the Netherlands. He also created work for the Amsterdam Fund for the Arts, the CaDance Festival and the

Holland Dance Festival in The Hague, and the NOS television broadcasting — 41 company. In 1992, he made Four Sections, followed by Crossing the Border (1993), Blue Field(1995) and Bach Moves (1995). As the artistic director of West Australian Ballet, he created many works, including Carmen (2000), for which he received the Australian Dance Award for Choreography, and Pulcinella (2001). A number of his successful ‘Australian’ ballets were also added to Dutch National Ballet’s repertoire on his return to Amsterdam. Since then, Brandsen’s creations have included Light Journey (2002), Body (2004), Firebird (2004), Stealing Time (2006) and Hallelujah Junction (2007). In February 2008, he presented his own version of the full-length ballet Coppelia and choreographed In Between for the programme In Space. In 2010, he created Duo and in 2011, he choreographed Raï for the programme Present/s. In 2013, he created Verge for students of the National Ballet Academy/Amsterdam School of the Arts and in 2014 Replay in the touring programme Stars of Dutch National Ballet. Brandsen’s works are included in the repertoire of many companies around the world. The premiere of his full- length production Mata Hari, in February 2016, was a great success.

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Watch Ted Brandsen, Dutch National Ballet Director, interview Wed. 5 th July 6:00 pm — creation — BERNARDO MONTET is currently associate artist to the SE/cW project BERNARDO MONTET Thu. 6th July in Morlaix (Brittany) and is in artistic residence at Louis Aragon Theater AT MONTPELLIER DANSE 8:00 pm in Tremblay-en-France. He directed the National Choreographic Center 1996 Opuscules of Tours from 2003 to the end of 2011. After a passage at the Mudra school 1997 Issê Timossé of Maurice Béjart in Brussels, he pursues his career beside choreographer 2000 Dissection d’un homme armé Théâtre la Vignette BERNARDO Catherine Diverrès and directs with her the National Choreographic Center 2002 O.More Rates of Rennes until 1998. From 1997 Bernardo Montet surronds himself with 2006 Coupédécalé Agora 15€ a team of loyal partners : Tal Beit Halachmi, Taoufiq Izeddiou, Dimitri € MONTET Réduit 18 Tsiapkinis and Marc Veh, with who he composes a repertory of about twenty Plein 22€ Agora J+ / + et - 5€ pieces. Since “Pain de Singe”, founding solo invented with filmmaker Téo Carne Hernandez (1987), he signs, among others, “Issê Timossé” in 1997 (with the complicity of Pierre Guyotat, writer and reciter), “Beau Travail” in 1998 (a collaboration with Claire Denis), “Bérénice” from Racine in 2001 (written with Frédéric Fisbach), as well as “O.More” in 2002 (with Gnawa musicians). In Tours, he creates nine pieces : “Parcours 2C (vobiscum)” (with visual artist Gilles Touyard) in 2004, “Coupédécalé” with Eran Tzur for the musical composition (2005), “Les batraciens s’en vont” (2006) and “Batracien, l’après- midi” (2007), two performances realized with Lorella Abenavoli for the Bernardo Montet is a conscious choreographer. All his plays deal with electroaccoustic creation, “Apertae” (2008), “Switch me off” (written with subjects sensitive to the modern world: colonialism, memory, identity, body Thomas Ferrand, 2009), “God needs sacrifice” (2010), “Isao”, a solo written consciousness, and resistance. Each choreography replays the world around for and in collaboration with Madagascan choreographer Gaby Saranouffi us, and reveals bodies in their poetic and political dimension. Carne is part and “Des Hommes”, a group performance in collaboration with historian and of that research. This piece, the first of which will take place in the festival critic Geneviève Vincent, in December 2011. In July 2011, he becomes Officer of Arts and Letters Order. In 2012, © Didier Olivré Montpellier Danse, is based on the work and photographs of the German missionary Martin Gusinde (1886-1969). Aware that the people of Tierra Bernardo Montet accompanies Madeleine Louarn on the play “Les Oiseaux” del Fuego (between Patagonia and Chile) were about to disappear with the from Artistiphane ; in parallel he works on a duet titled “(Des)incarnat(s)” arrival of Western settlers, he went to meet them. He studied them and took with one comedian from the Atelier Catalyse, about the notion of 42 — pictures of the three tribes, the Selk’nam, the Yamana and the Kawesqar Vulnerable. Since then, other performances has seen the day : “Aire de Jeux” Choreography : Bernardo Montet — 43 Piece for 5 dancers between 1919 and 1924. He was one of the few who have observed the Hain (2013), “En Chemin” (2014) and “Lux Tenebrae” (creation November 2014). Interprets: Patricia Guannel, All those pieces, carried by a level of requirement and radicalism, treat Suzie Babin, Youness Aboulakoul, ceremony, an initiatory ritual that goes back to the origins of humanity. Marc Veh, Herwann Asseh The performance of Bernardo Montet addresses these territories located subjects that are dear to Bernardo Montet : colonialism, memory, identity, Musical composition: : Pascal Le Gall body’s consciousness, resistance.... Each choreography emerges from the Stage set: Gilles Touyard at the very end of the world according to a geography of fiction putting in Costums : Rose-Marie Melka perspective imaginary representations and tangible reality. Carne stages previous one to build an image both similar and different : bodys, in their Light : Michel Bertrand a manifestation of trembling up to the overflow, to the point where our poetic and politic dimension, play again the World that surronds us. Production : Cie Mawguerite Bernardo Montet also develops singular projects with children such as Co-producers : Festival Montpellier Danse certainties, our doctrines falter. To tremble is to accept the bursting of 2017, le Quartz, scène nationale (Brest) the Other in his own flesh. Carne is rooted in the most archaic and sacred ChOral (2013), Môm’Arts (2014 and 2011), and projects in urban spaces Recidency : Le Roudour Saint Martin des Champs sources of humanity in order to update our relationship with the world, to such as “Pas à Pas” (2013), “La marche des Anges” (2007) and “Veiller par le With the support of Chapell Dérézo - Place of artistic experimentation (Brest) suspend time, and to find the living. geste” (2008, 2010).

www.ciemawguerite.com

At montpellierdanse.com Read the full performance Little by little I was able to enter into a strange world. For hours I article sat in a circle with these people like a student eager for Watch previous performance knowledge. I tried to get rid of the European thought, the values extracts of modernity and all personal feeling in order to capture and Watch Bernando Montet’s understand a particularly singular conceptual universe. interview Martin Gusinde

“What remains for us to discover together without the world being divided between discoverers and discoverers? « Edouard Glissant Thu. 6th & Did you conceive the décor, the lighting, and the costumes within this DAVID WAMPACH Fri. 7th July perspective of doubt of whom to watch? AT MONTPELLIER DANSE We worked a lot with the clothing, questioning what was modified by 2005 CIRCON C IS / CIRCONSCRIT 6:00 pm wearing a dress, shorts, socks…The ability to change the physical appearance 2007 QUATORZE was very important; it’s what we took from Rachel Garcia, to make this 2009 AUTO Studio Bagouet / choice in costume. The costumes were presented in order to hide and then 2011 SACRE Agora DAVID to reveal. This clothing principle called for items that could be searched 2013 TOUR

Rates from hiding, in order to better show, in order to better pinpoint, in order to 2015 URGE Agora 15€ reveal. And the lighting by Caty Olive participated in this process. The décor Reduced 18€ WAMPACH begin from the necessity of circumscribing the space. I like to inscribe the Full 22€ Agora J+ / + et - 5€ movement in a congealed space. This disposition poses the question of the motivation behind the BASCULE movement. What moves the dancers? Something which motivates the interior that exists by an inner reason; but also from the exterior, by a rhythm associated with another rhythm, one of the lighting, the sound, the space in which one is inscribed, etc. It’s equally a sense of this open/closed box, autonomy, and within this relation with the outside. These are the interactions between the rhythms that create the The piece titled “BASCULE” . You have searched to create disequilibrium movement. But there isn’t a reason. There is an element that separates these on stage. two spaces, the inside and the outside – a membrane, the skin, the walls… There are three people. Two women and a man. The initial exercise is the these materials that make a barrier and a passage. Finally, how this happens, disequilibrium. The equilibrium is apparent by moments – in order to retract what makes this happen? Some vibrations, some waves? Is this the chemistry, oneself. I didn’t search for movement which balances. That tension state is the physics? A transformation of one into the other? One could have the present, it can happen at any moment. In any case, one can wait for it, and impression of seeing these same gestures repeated, but it’s just a difference © Martin Colombet © Martin then forget it. I would like for movement to be linear and for that linearity to that is noted. When they are standing and they are going to stretch out be carried by the dancer’s movement and by the sound. on the floor, the question is to know how they will go and what are the How do you define the relationship which exists between the sound and transitions, the intermediate steps – like for the posture with four legs that 44 — the movement? could introduce other imaginations, it’s a question of leaving the vertical Association Achles The relationship first tries to get at the particular sound quality: it’s neither in order to reach the horizontal. The pelvis approaches the floor and there, Choreography : David Wampach — 45 Dancers : Maeva Cunci, Liz Santoro, an ambient sound which tries to furnish the silence nor an accompanying there is a stop, an image, a sort of reading that creates the crossovers. I do Bruno Péré sound. Also if it can provoke a state, it isn’t there to fill an empty space. not like extremely precise movement. What interested me in these crossovers the performance was originally created with : Maeva Cunci, Virginie Thomas, In other words, the dance doesn’t present itself as an illustration of the and these transitions, were the changes, the discrepancies, the deviations. Mathias Poisson sound. It was important to play with the crossovers between the sound and Interviewed by Gilles Amalvi Light : Caty Olive Music: Olivier Alary the dance, one able to recall the other. I searched for movement in which Costumes : Rachel Garcia the body doesn’t react to the sound – that it has a form of autonomy. The Stage technician: Gaëtan Lebret DAVID WAMPACH started out studying medicine at the Faculty of Lighting management : Abigail Fowler movement can precede the “beat,” giving the impression that it provoked Montpellier. He quickly became interested in live performances: firstly

Production : Association Achles it. We searched all the possibilities to mark the “beat.” The three used are: theater, and then dance. He participated in multiple dance groups: The Co-production : Choreographic development center of Toulouse/Midi- one in which the beat isn’t connected to the movement, a sound of cracking Company Coline in Istres, France (1999), exerce (2000) at the National Pyrénées, National choreographic center the knuckles, the only organic noise, and then, there is a metronome and a of Montpellier Languedoc-Roussillon, Choreographic Center of Montpelier, directed by Mathilde Monnier, and National choreographic center of Franche- bass. The two sounds are syncopated. There is a discrepancy. The rapport then the P.A.R.T.S school of Brussels with Anne Teresa de Keersmaeker Comté in Belfort, under the auspices of the accueil studio programme/Ministère between the metronome and the bass creates a suspension which can be seen (2001). He also participated in the training of choreographic culture offered de la Culture et de la Communication, Foundation of France under the auspices of in the movement. This advances – all slowing down or giving the illusion by Laurence Louppe, from 2004 to 2006, while working on his creations. the contemporary dance artists initiatives program. of slowing down by moments. The dancers play with the synchronization, In 2001, his approach borrowed from theatre and plastic art, developed along With the support of la Préfecture de Région Languedoc-Roussillon - Direction with the sound, and with their partners, but each one has a different personal the way, was integrated in the Achles Association. Régionale des Affaires Culturelles, the Languedoc-Roussillon region, the city of relation to the rhythm. David Wampach co-wrote the duet D ES R A (2003) with Pierre Mourles, Montpellier Did you want to incorporate a circulation of desire and a gaze among the Thanks to Maison Victoria (Gand), to before creating the solo CIRCONSCIS (2004), then BASCULE (2005),then Laboratoires d’Aubervilliers, to Centre three bodies? came QUATORZE (2007), AUTO (2008), a duet with pianist, Aurélien national de la danse et au Studio Pierre Droulers (Marseille) We worked in twos on a see-saw. In order to disestablish the equilibrium, Richard, BATTERIE (2008) and BATTEMENT (2009), He created two new it is necessary to have one set of two watching the two who move. So, there www.davidwampach.fr pieces in 2011: CASSETTE , a Latino version of the ballet Casse-noisette exists another simple way: a third person. The arrival of this third person (Nutcracker), and SACRE , a reading of Sacre du Printemps (The Rite of

At montpellierdanse.com permits movement to happen in spite of the other two. That is what I Spring), created at the Montpellier Dance Festival in 2011. In 2012 and 2013, searched for in this trio, it’s the exchange, the rapport of the two against the David Wampach continued his work on ritual and trance, directing his first Read the full performance article three. We worked on frontal and the address. A lot of things are constructed short film, RITE , a continuation of the piece SACRE , and creating the solo around the idea of having a person facing the audience and the two whose TOUR , in which he portrays a primal being invaded by the uncontrollable Watch previous performance extracts back is to the audience. Suddenly, the person being watched isn’t perhaps the rhythm of his inhalations and exhalations, composing a visual and acoustic one that should be watched. The gaze circles, there isn’t a focal point. They portrait. In 2014 he created the duet VEINE. Watch David Wampach’s interview each have their singularity – in their clothing or sexually. Maybe there isn’t David Wampach is also regularly invited to teach in educational programs, anyone to watch, that it all happens between them, between these bodies and such as Ex.e.r.ce at the Centre Chorégraphique National de Montpellier, these singularities. EMFOCO in Concepción, Chile, and DanceWEB, the scholarship program of the ImPulsTanz festival, for which he was invited as a mentor in 2014. Thu. 6th & Fri. 7th July — creation — from Sweden to Tel Aviv and performing on stages far and wide. Eyal and SHARON EYAL & GAI BEHAR 8:00 pm Behar’s previous works for L-E-V include House , Killer Pig and L-E-V AT MONTPELLIER DANSE Night Show . The first two were created as commissions for other companies 2006 Bertholina with la Batsheva Dance Opéra Comédie – House for Batsheva and Killer Pig for the Norwegian Carte Blanche. L-E-V Company SHARON Night Show invites audiences to experience dance in an unconventional 2014 House Rates setting, a nightclub. The show’s duration is between two and three hours. 2016 OCD Love st € Agora 1 range 25 Viewers are free to roam through the space, choosing their vantage point. Reduced 1st range 28€ Full 1st range 35€ EYAL & With OCD Love , Eyal and Behar continue on their dark journey through passion, distress and techno beats. Using Hilborn’s text strongly influenced Unique rate : Eyal and Behar’s process. Usually, Eyal begins with movement, allowing 2nd range 15€ Agora J+ / + et - 5€ GAI BEHAR the flow of her body to set the tone for the process. Here, she began with an image or structure already set in her mind. “It is the first time that the core of the piece was shaped in my head and so, figuratively, before we even Love Chapter 2 began working. I knew the way it feels and smells. Like the end of the world, without mercy. A smell of flowers but very dark. Like falling into a hole and not coming back. A lot of noise but desperation for quiet. It’s not coming from a place that I want to make something sad but something that I need to take out of myself, like a dark stone I have in my chest,” says Eyal. I’m a living, loving, functioning being broken into crumbs of love. giving myself to the blast. Disaster, end and hope undergo as an illness to the dancer’s body. SHARON EYAL Sharon Eyal was born in Jerusalem. She danced with the Now that there are no borders we are dangerous to ourselves . Batsheva Dance Company from 1990 until 2008 and began choreographing

DR Liquids of information, the pain of loss and mental exhaustion mutate into a within the framework of the company’s Batsheva Dancers Create project. big heart coated with darkness and matter of guarded secrets. Eyal served as Associate Artistic Director of Batsheva between 2003-2004, This creation is post illness, after all was lost It holds by a touch to keep us and House Choreographer of the company between 2005-2012. alive dreaming in a blind body. In 2009 Eyal began creating pieces for other dance companies in the world: This creation is a reason to cry..Sharon Eyal Killer Pig (2009) and Corps de Walk (2011) for Carte Blanche Dance of 46 — Norway; Too Beaucoup (2011) for Hubbard Chicago, and — 47 L-E-V When Sahron Eyal first encountered Neil Hilborn’s poem OCD, she felt Plafona (2012) for Tanzcompagnie Oldenburg, Germany. Creator: Sharon Eyal she had stumbled upon a soul mate in the author. In the poem, which is In 2013 Eyal launches L-E-V with her long-time collaborator Gai Behar. This Co-Creator: Gai Behar Love Chapter 2 Music: Ori Lichtik presented in a type of slam session, Hilborn describes love through the eyes October, they premiered Untitled Black in collaboration with the Goteborgs Lighting: Alon Cohen Operans Danskompani in Gothenburg, Sweden. ON TOUR Dancers: Gon Biran, Darren Devaney, of one who suffers from obsessive compulsive disorder. He describes the July 9-10, 2017 Festival Julidans, Amsterdam, Rebecca Hytting, Leo Lerus, incessant hand washing, the turning on and off of lights and the relentless Eyal is the recipient of numerous awards, including the 2004 Ministry of Keren Lurie Pardes, Mariko Kakizaki Netherlands Production : L-E-V need for perfection that at first riled his partner and ultimately alienated her. Culture Award for young dance creators and the 2009 Landau Prize for the Co-producers : Montpellier Dance Festival, October 27-28, 2017 Dance Festival, Freiburg MIGROS Culture Percentage - Dance “At night she’d lie in bed and w atch me turn all the lights off. And on and Performing Arts in the dance category. In 2008, she was named a Chosen Festival STEPS, Freiburg Dance Festival Theater, Freiburg-im-Breisgau, Germany Sadler’s Wells, London, Julidans off and on and off and on and off...” writes Hilborn. “Usually, when I obsess Artist of the Israel Cultural Excellence Foundation. April 13-14, 2018 Dance Festival STEPS, Roma Europa Festiva over things, I see germs sneaking into my skin. I see myself crushed by an www.sharoneyaldance.com endless succession of cars... And she was the first beautiful thing I ever got GAI BEHAR As a party producer, Gai was taking a big part of Tel Aviv Zurich, Switzerland At montpellierdanse.com stuck on.” nightlife scene as well as a curator of multidisciplinary art events from April 16-17, 2018 Dance Festival STEPS, Morges, Switzerland Read the full performance 1999 till 2005. Gai joined Sharon in co-creating Bertolina in 2005 and has article “This text is very strong for me because I feel as though it reflects me,” says collaborated on the creation of Sharon Eyal ever since. April 20, 2018 Dance Festival STEPS, Basel, Switzerland Watch d’OCD Love extracts, her Eyal of the poem. “I couldn’t stop reading it. For me it was like an already previous performance existing choreography or a mold that I could pour my inspiration and April 24, 2018 Dance Festival STEPS, Monthey, Switzerland Watch Sharon Eyal’s interview myself into.” Eyal and her life and work partner Gai Behar are in the midst of the premiere weekend of their company, L-E-V’s, newest piece, OCD April 26, 2018 Dance Festival STEPS, Love . Spanning four days at Warehouse 2 in Jaffa, this event marks another Annemasse, Switzerland significant step in the life of the budding dance company. Eyal is one of the April 28, 2018 Dance Festival STEPS, Luzern, most alluring figures in the Israeli dance community. For more than two Switzerland decades she was the poster girl for the Batsheva Dance Company, first as a May1, 2018 Dance Festival STEPS, Bern, performer and then as a house choreographer. Together with Behar, Eyal Switzerland established an entirely new aesthetic, one that draws on nightlife, darkness May3, 2018 Dance Festival STEPS, Chur, and sensuality. Their long-standing collaboration with musician Ori Lichtik Switzerland fostered an audio continuity that deeply enhances the company’s esthetic. Fall 2018 Roma Europa Festival, Rome, Italy In 2013, the duo decided to break away from the comfortable environs of Fall 2018 / Spring 2019 Sadler’s Wells, Batsheva and create their own kind of company. L-E-V represents a new London, England model in the dance milieu, a troupe that has neither home nor country. With its six international dancers, L-E-V travels the globe, rehearsing in studios CINEMA & VIDEOS —

Wed. 28th — Thu. 29th Fri. 30th June & Sat. 1st July 1:00 pm

Auditorium Béjart / Agora Free entrance MERCE 1919 CUNNINGHAM 2009 A Half-century of creations, translated into images

«I have always sought to make things clear, to make my dance years of choreographic creation in images rival passing time 48 — understood! I hope the audience can see that we try to expand and disappearance? Do not underestimate the powers of — 49 boundaries in order to innovate, to surprise and ultimately, an artist who, from as early as 1964, embraced what was to enchant!1»Just before his death at 85 years of age, when known at the time as video art: seizing the importance celebrating the fiftieth anniversary of his dance company, of movement in dance in osmosis with the movement of Merce Cunningham was still in movement. As he had been images. Who is hidden behind the camera in such legendary all his life. Not just because he was a goldsmith, inventing films as Variations V, Pond Way, Interscape or Biped? Artists new ways of dancing and taking his style and dancers, into themselves. The Korean Nam June Paik, friend of John Cage, a brave new world – his world, our world, a world which from the neo-dada Fluxus movement and one of the very moves and shakes the planet; but more importantly, because first video makers; or, the American Charles Atlas, who wherever he went, movement was a vital process for him. invented a bespoke method with Cunningham – dance for camera -, and is himself a multimedia artist. The directors Movement disturbs and unsettles, but movement is life: most too, always sharp observers of dance in movement, such as of the time, «we are alive and don’t even know it» - Marie-Hélène Rebois and Vincent Bataillon. This is enchantment! In 1985, twenty years after his astounding first international tour, Cunningham created Art and technology. Cunningham continually explored the four Events for Montpellier Danse in the Jacques-Coeur possibilities; using software, tailor-made for him by students Courtyard, specially tailored for the occasion. An opening – the famous Dance forms – which he admitted to being event, followed by 25 years of artistic encounters, studding just part of his creative process. A sort of crucial doubt on and spurring the history of dance in Montpellier, and a fascinated world. Cunningham’s entire work in images? made wholly unforgettable by John Cage, composer and Why not…By drawing lots to choose the order in which to partner of the choreographer. The first choreographer to set see them and pay homage to his taste for Yi-king – a lucky Einstein’s theory of relativity to dance, Cunningham disrupts draw, reworking the order of possible combinations between the unique perspective and releases the poetic flow of music, movement and costumes, convinced that «chance

complex steps deployed perfectly on stage…even when the is just the starting point, not the destination». A lucky draw Merce Cunningham lors d'un Event - Kiosque Bosc / Montpellier - Festival Montpellier Danse 1995 performance took place on Montpellier’s open-air Esplanade. and then enchantment. Dreaming, breathing, moving in © Jean-Michel Mart / Midi Libre Ocean, in 1998, was performed only once in France at the Agora Courtyard where on the 20th of June 2010, in the Zenith concert hall– transformed for the occasion accordance with his last wishes, Jean-Paul Montanari and into a global circular planet, and little accustomed to the one of his dancers, spread some of his ashes. Enchantment evolutions of contemporary dance -, and was a moment of too... Lise Ott exaltation and sublime harmony, shared with Montpellier Philharmonic Orchestra’s 112 musicians. Fleeting traces, 1 — Danser magazine’s interview, n°229, 2004. we could say. Impossible re-enchantment. How can 50 2 — Ovide, Tristes. MERCE CUNNINGHAM 1919 - 2009 keep up with the dancers, each 3:30 pm Charles Atlas. The film explores 3:10 pm 1:30 pm with their own movements, as see also at Fractions 1 the use of deep-focus, contrasting Interscape Suite for Five they dance diagonally across Albert Camus media library / background figures (often Directed by Merce Cunningham Directed by Charles Atlas (2001, 46’) Directed by Charles Atlas (2008, 26’) A Half-century of creations, the stage. Cage provided the Clapiers et Charles Atlas (1978, 33’) in motion) with those in the musical accompaniment, using a 3:00 pm foreground (sometimes in extreme The music for Interscape is a John This dance was created by adding translated into images version of «Concert for Piano and Merce Cunningham, With Fractions I Merce close-up). It was filmed in the Cage composition for solo cello, a trio, a duet and a quintet to Orchestra,» and Rauschenberg a lifetime of dance Cunningham was interested in vaulted wood-paneled Synod which can also be performed Cunningham’s earlier Solo Suite in designed the costumes, which having several actions appear House of Cathedral of St. John with an orchestra. Robert Space and Time. In partnership with A documentary of Charles Atlas included fur coats and parachute at the same time on the screen. the Divine in New York City Rauschenberg designed the décor — (2000, 1h30) dresses over black leotards. Television monitors were where great spatial depth and –the front curtain was comprised 2:00 pm — An American Masters production, incorporated into the dance camera mobility could enhance of a montage of smudged black Ocean 2:45 pm this documentary explores Merce which showed details of the dance Cunningham’s style of extended, and white photographs, and a Directed by Charles Atlas (2010, 1h40) Cunningham’s dancing career movements being danced or energetic dance. First screenings backdrop with the same images Night Wandering Andrew Culver composed music from his earliest days at the different movements altogether. at Dean Junior College in from the front curtain, duplicated Directed by Arne Arnbom (1964, 13’) according to Cage’s concept and Cornish school to his present work Filmed at the Merce Cunningham Franklin, MA, 7 April 1984; Merce in color. The dancers wore David Tudor made an electronic Paradoxically described by Walter with the dance computer. Includes Studio, Westbeth, New York, NY. Cunningham Studio, Westbeth in multihued leotards, also designed component. Cunningham’s Sorell as “a tender lullaby of love”, archival footage of earlier dances — New York, NY, 16 April 1984. by Rauschenberg. Recurring choreography was in nineteen and by Richard Buckle as “cold as well as newer works, such as 4:00 pm — themes in the choreography are: sections, using a chance process and menacing, the courtship of «BIPED,» that utilize computer a head thrown back, arms linked, Locale 2:00 pm based on the number of hexagrams the Macbeths”, «Night Wandering» technology as an element of dance. back to back dancing and shifts Directed by Charles Atlas (1978, 30’) Beach Birds for Camera in the I Ching—64, but owing to is a duet reminiscent of snowy Features interviews with dancers, of weight, sometimes in the pelvis Directed by Elliot Caplan (1993, 30’) the length of the dance this was landscapes. Nicola Cernovitch collaborators, scholars, and Merce Locale was designed to explore alone. doubled, 128. This number of designed the original costumes himself. the possibilities of moving Beach Birds for Camera is an — phrases allowed for solos, duets, and lighting --fur tunics that cameras and moving dancers in adaptation of a dance work In partnership with 4:00 pm trios, quartets, and group sections. Cunningham wore over trousers a film. The camera movements originally made for the stage. BIPED To accustom the dancers to and Brown wore over tights. are choreographed as precisely as With the music collaboration ——— Directed by Charles Atlas (2005, 48’) dancing in the round. Continuing with the piece’s Nordic those of the dancers. of John Cage named Ocean. No Thu. June 29 — theme, the music by Bo Nilsson, — suitable space was available for The digital artists Paul Kaiser and was characterized by bursts of 4:30 pm such a project, so it was decided Shelley Eshkar collaborated with 3:30 pm 1:00 pm activity followed by moments Exchange that instead a new dance would be Cunningham, who,choreographed Roaratorio Assemblage of silence, evoking the feeling of Directed by Charles Atlas made for the Merce Cunningham 70 phrases that were transposed Directed by Marie-Hélène Rebois traveling through the spacious, Directed by Richard Moore (1968, 58’) (1978/2013, 40’) Dance Company’s repertory. into digital images. These (2010, 60’) and seemingly endless Northern Cunningham had always intended animated images, as well as Roaratorio was choreographed Done for the KQED television Divided into three parts, night. to call his part of the work «Beach abstract patterns are projected on to a large-scale musical score station in San Francisco, «Exchange» began with half of the — Birds,» and so the title remains. to a scrim at the front of the stage, composed by John Cage in 50 — Assemblage was made on location company in the first part, the other — 51 3:00 pm — behind which the live dancers may 1979 titled «Roaratorio, an Irish in Ghirardelli Square in that city. half in the second, and the entire 2:30 pm be seen. Circus on Finnegans Wake». Variations V It represented the amalgamation company closing out the third. — The score consists of three Derected by Nam June Paik et of two distinct ideas; one, a film When asked about his inspiration Pond Way 4:45 pm simultaneous elements and is a Stan VanDerBeek (1966, 49’) about the place itself, and the for this piece, Cunningham said, Directed by Charles Atlas (1998, 24’) work of staggering complexity. other, a film about the dance “I’ve often been struck by the idea Split Sides 45 This is a multi-media work. One of Cunningham’s nature Cage travelled through Ireland company. of recurrence, ideas, movements, Directed by Charles Atlas (2005, 42’) The piece involved dancers, studies, Pond Way evokes the recording sounds in places inflections coming back in musicians, and technicians, as well trickling affect of water, as the Split Sides is a work for the full mentioned in Joyce’s novel, which — different guises, never the same; it’s as electronic equipment. Twelve dancers move in wave like motions company of fourteen dancers. The were later assembled on tapes to 2:00 pm always a new space and a changed sound sensitive electronic poles across the stage; timing the choreography, music and design form a an hour-long piece. Walkaround Time moment in time. So I decided to were placed around the stage. movements so that one begins elements for the dance were each In partnership with Directed by Charles Atlas (1973, 51’) use it in «Exchange.” Each pole had a four foot sound just after another. The movement created in two parts, or, in the case — Merce Cunningham dans Antic Meet (1958) was inspired by Cunningham’s of the music, by two bands. Each radius. The sound was triggered A film record of the Cunningham 4:30 pm © R. Rutledge / Courtesy of Cunningham Foundation ——— childhood game of skimming performance varies, as chance by the dancer’s movements and repertory piece. Walkaround Time Un Jour ou deux was then altered or delayed by Fri. June 30 stones over a pond. The décor was procedures decide which of the is purely and simply a masterwork. Directed by Vincent Bataillon (2012, the musicians, John Cage, David a patterned backcloth, reminiscent two versions of each element will The film shows what Cunningham 1h12), avec les danseurs du Ballet de teachers join forces and take up Tudor and Gordon Mumma 1:00 pm of bubbles of water, based on Roy be paired together. Mathmatically, Wed. June 28 is all about, it can make lifetime l’Opéra national de Paris the challenge of implementing the Channels/Inserts Lichtenstein’s painting Landscape there are thirty-two different In presence of shown at work nearby. converts CUNNINGHAM LEGACY PLAN, Directed by Charles Atlas (1982, 32’) with Boat. Brian Eno composed possible versions of Split Sides. In 1973 the Paris Festival Marie-Hélène Rebois and — — elaborated by the choreographer the soundscape. d’Automne and the Paris Lise Ott 4:00 pm 3:00 pm In Channels/Inserts, Cunningham ——— himself before his death. In partnership with st International Dance Festival 498, 3rd Ave. created a piece in which there was Sam. July 1 In partnership with Squaregame Video — commissioned a new work from 1:00 pm Directed by Klaus Wildenhahn Directed by Charles Atlas (1976, 26’) a sense of dual events happening Merce Cunningham. As in works (1967, 81’) 3:00 pm 1:00 pm Merce Cunningham, 2:00 pm concurrently. Atlas coveys this idea for his own company, the dance This is a film of a playful dance with cross-cutting and animated Melange CRWDSPCR the legacy A documentary of the Dance and the music were independent Antic Meet in which packed duffle bags are travelling mattes, which serve as Directed by Charles Atlas (2000, 7,30’) Directed by Charles Atlas (2008, 30’) A documentary of Company in New York City. The of each other. Un jour ou deux was Directed by Arne Arnbom (1964, 40’) thrown back and forth between alternative transitions between Marie-Hélène Rebois (2012, 56’) film tells the story of the making Dances for documentary film by Greatly inspired by innovations first performed in November 1973 dancers and used to create the segments. Filmed at the Merce Performed like a series of of the dance «Scramble.» The film Charles Atlas. Revised versions in technology, Cunningham in the Paris Opera/Palais Garnier. decor of the piece. Squaregame Cunningham Studio, Westbeth. Three years after his death, vaudeville scenes that overlap, maker was interested in showing of Duet, Trios, and Fast Dance chose the title for «CRWDSPCR» was first performed on a surface First public screening at Carnegie this documentary looks at the «Antic Meet» consisted of ten the daily routine of the dancers, incorporated into Interscape. because of the way in which resembling an athletic court, and Hall Cinema, New York, NY, 21 extraordinary career of Merce playful and comedic numbers. how and where they work, and Music: John Cage, from materials “computer technology is changing its participants were invited to stop March 1982. Cunningham, the great American The curtains opened with other aspects of producing new recorded for Instances of Silence, and watch one another, as if they our language, condensing words… choreographer, and the battle for Cunningham moving among work. Includes excerpts from an — 1982 were on the sidelines at a sporting dance was one of nonstop, even the preservation of his heritage. the other dancers as a clown-like EVENT performance at the Philip 1:30 pm In partnership with event. frenetic activity, interrupted only How to ensure that his work figure “who falls in love with a Johnson Glass House in New Coast Zone by a long, slow solo. lives on despite his death and the society whose rules he doesn’t Canaan, CT in June, 1967 with Directed by Charles Atlas (1983, 27’) break-up of his dance company? know”, and concludes much in music by the Velvet Underground. Coast Zone was created in Lawyers, trustees, dancers, the same way, as he attempts to musicians, archivists and dance collaboration with director, CINEMA — stages of this artistic creation process. An unique opportunity to see this big artist’s work. In partnership with ——— Mon. July 3 In presence of Fabrice Ramalingom From Fri. June 23 Mon. June 26 to Fri.July 7 In presence of 2:00 pm Mathilde Monnier Magnetic Cinema Auditorium Béjart / Agora and at Directed by Pierre Coulibeuf Montpelier Mediterranean Metropolis media libraries. 2:00 pm (2008, 33’) Free entrance Le Bal Inspired by Lugares Comunes within the limit of the available seats Directed by Ettore Scola (1983, 1h52) by the canadian choreographer In this musical set in a French Benoît Lachambre, the film nightclub, choreographed song touches on the sphere of the At montpellierdanse.com and dance routines, rather than supernatural. An interplay of a streamlined narrative, tell multiple energies links the film’s Watch the movie trailers the story of Parisian culture characters to the natural elements- and politics from the 1920s air, water, plant and mineral- through the 1980s. A disparate, leading to strange, instinctual anachronistic series of characters, body movements. These characters including an ordinary waiter, have an android double, haunted a Nazi collaborator, resistance by another, non-human will. They fighters and 1960s student move about in a magnetic space protestors gather to celebrate and where corporal language takes the parody 20th-century France’s place of the verbal. Cinema - as the icons, demons and social changes. art of suggestion, the art of dark, ——— obsessive forces - attests to the cyclical nature of existence. Thus Tue. June 27 Fri. June 23 Sat. June 24 do waves live... In presence of Lucinda hilds, In presence of Antonio Canalès In presence of Angelin Marie-Hélène Rebois and and Tony Gatlif Preljocaj and Valérie Müller Yorgos Loukos — 53 2:00 pm 2:00 pm 1:00 pm Vengo Polina, danser sa vie Opera of Lyon Ballet, a Directed by Tony Gatlif (2000,1h30) Directed by Angelin Preljocaj and contemporain repertory with Antonio Canales Valérie Müller (2016, 1h48) Documentary directed by Marie- Caco is a proud, handsome Hélène Rebois, (2010, 1h20) Moscow, early 90s. Polina, aged 3:00 pm man, head of a family, and very 8, is a gifted ballerina. From a powerful in the local community. This Marie-Hélène Rebois movie Rite modest background she joins the follows the dancers of the Opera Yet he has been torn to pieces by prestigious school of Professor Dance movie directed by David of Lyon Ballet on a season tour in Wampach (2013, 15’) the death of his beloved daughter. Bojinsky, who trains dancers He constantly visits her grave, Lyon, New York, Lille and Paris. for the Bolshoi. He immediately At a crossroads in her life, a weeps silently at her photo and Directed by de dance director grasps her tremendous potential woman returns alone to an island has transferred all his wildly Yorgos Loukos, they will dance and makes her work so hard that to act out a rite of passage. In protective love and attention onto Matt Ek, Jir í Kylián, Maguy at only 18 her dream finally comes her quest and haunted by her his physically challenged nephew, Marin, Merce Cunningham, Trisha true and she enters the prestigious memories, she is guided by people Diego. It seems that Diego’s father, Brown, Jérôme Bel, Otto Ramstad, Bolshoi. This is when she meets who have marked her life, coming Caco’s brother, is in hiding after Jason Akira Somma and Antony Adrien, a charming French dancer. from different generations: her having killed a man from the Hamilton’s choreographies. He will help her to discover not parents, her loves, her alter ego. Caravaca family, who are equally — only love but, more importantly, — powerful in the community. They 2:30 pm a new form of dance, more 3:30 pm are looking for vengeance and contemporary and expressive, a world premiere Living art have come to Caco for justice. kind of dance that will change her Lucinda Childs : Documentary directed by When he refuses to betray his life forever. From Moscow to Aix- La grande fugue de brother, the Caravacas grow En-Provence and Antwerp, from Ludwig van Beethoven Steven Cohen (1998, 26’) impatient. When they realize they success to disillusion, we follow Documentary directed by Marie- In the late 1990’s, Steven are getting nowhere, they threaten Polina’s incredible destiny. Hélène Rebois (2017, 1h20), with Ballet to kill Diego. Despite his fierce de l’Opéra de Lyon Cohen began to concentrate on pride, Caco eventually realizes that performance art. Around 1998, See also at Montpelier the cycle of killing and revenge In November 2016 took place he did several performances Mediterranean Metropolis the first performance of Lucinda must be broken. But how can he in the South African public, media libraries : Childs’s Grosse Fuge by Ludwig achieve this and protect everyone which were recorded and later Sat. July 1st at 3:00 pm van Beethoven danced by the he loves? compiled to a video work titled Jean Giono media library / Pérols dancers of the Ballet of the In partnership with Wed. July 5 at 3:00 pm Opera of Lyon. Marie - Hélène Living art. Albert Camus media library/ Rebois’s cameras followed the see also on Sat. June 24 Clapiers at 3:00 pm - Jean Giono media library / Pérols Tue. July 4 Thu. July 6

TRIBUTE TO HANS VAN MANEN

Chandelier Sunny 2:00 pm Documentary directed by Documentary directed by Théophile In presence of Steven Cohen Cherrier, Matthieu Eberhardt, Eva Lo- Bernardo Montet (2002, 16’) 2:00 pm An introduction to Ré et Mathieu Message (2016,11’) Cohen chose a squatter Hans van Manen How can contemporary La Bagne camp under a highway in Edited by Henk van Dijk (2017, 20’) dance be so representative of Documentary directed by Maud Martin Johannesburg as location for his (2013, 57’) choreographer’s vision thought Created specially for Montpellier performance. He converted an dancers? This Documentary it’s Danse Festival, this documentary Spring 2011, Bernardo Montet iron chandelier into a wearable about the musician Awir Leon, shows in twenty minutes Hans van creates his new play Des Hommes, piece. The artist’s agenda of dnacers and about Emanuel Gat’s inspired by Jean Genet’s Bagne. Manen’s biggest works provocation comes with images particular vision. During two months of creation, of vulnerability. — Maud Martin films the dancers. Without words 3:00 pm Between collective rehearsals and Documentary directed by Henk van individual interviews, she makes Maid in South Africa Dijk (2011, 32’) In presence of Daniel Linehan the journey with them and try to Documentary directed by Without words shows a whole understand what dance means Steven Cohen creation ballet process. From Interview for this short-lived and intense (2005, 13’) rehearsal to stage. Cameras go as Directed by Gilles Amalvi for the Opéra community. de Lille (2015, 12’10) With real political commitment, closely as possible to Hans van — Steven Cohen investigates Manen’s ideas and to his relation Interview with Daniel Linehan, 3:00 pm with dancers. the body and it’s exploitation realized by Gilles Amalvi for Marie Chouinard, a look the Opera de Lille, as part at a woman, a look at her (making references to Symphonies of The prostitution, manual labour, the of his artistic residence as a work Netherlands choreographer from 2013 to 2016 rapport between the different Created by Anaïs Barbeau-Lavalette et Directed by Henk van Dijk (1987, 15’) Jocelyn Barnabé (2013, 52’) communities...) and also pays In 1987, Hans van Manen creates Untitled Duet homage to his South African Two parts Marie Chouinard’s the ballet Symphonies of The Directed by la Tate Modern (Londres) nanny aged 84 years, who lived documentary. Netherlands. A cast of 24 dancers for internet (2013, 34’) as an employee of the house, in ——— who make rectilinear figures on Performance Room is a series of the bosom of the family since his stage. For each of these figures, Fri. July 7 — 55 performances streamed live across childhood. the choreographer created a the world via Tate’s website and movement. It is fascinating. Cleaning time Vienna YouTube Channel. It is within the last series of Performance Room in Documentary directed by ——— 2013 that Daniel Linehan created Steven Cohen Wed. July 5 Untitled Duet. (2007, 11’) — As a child, growing up in 2:00 pm 4:00 pm In presence of Emanuel Gat CAROL PRIEUR dancer Johannesburg, I had heard 2:00 pm Marie Chouinard from my grandparents that Beau Travail Brilliant Corners, Company Jews in Vienna during the time Directed by Claire Denis (1999,1h30) of the Holocaust had been excerpts and interview Created by Marie Chouinard Company (2015,17’) forced to clean the streets with Documentary directed by Foreign Legion officer, Galoup, Luc Riolon (2013, 20’) recalls his once glorious life, toothbrushes. Carol Prieur started her career leading troops in the Gulf of with Winnipeg Contemporary Documentary about Emanuel Gat’s Djibouti. His existence there was Dancers.. Since she became a performance BrillIant Corners, that happy, strict and regimented, but member of Marie Chouinard explore the mechanic and human the arrival of a promising young Company in 1995, three solos have strength, which are the essence of recruit, Sentain, plants the seeds been created for her. She received the choreography of jealousy in Galoup’s mind. He an Award for Best Performance in feels compelled to stop him from Marie Chouinard’s film, Cantique coming to the attention of the no. 1, at the Moving Pictures commandant who he admires, but Festival of Dance on Film and who ignores him. Ultimately, his Coq/Cock Video Award in Toronto. This jealousy leads to the destruction of Documentary directed by documentary portrait is tribute of both Sentain and himself. hers twenty years within the Marie Steven Cohen In partnership with (2014, 5’) Chouinard Company. ——— Steven Cohen paraded in front of the Eiffel Tower with a farmyard animal. He was dressed in platform heels, a corset, elbow-length red gloves and a headdress, and tethered the cockrel to himself with a ribbon. Someone images shown in these movies might be not adapted to children Montpellier Destination Culture, MONTPELLIER DANSE the main partner of AT THE METROPOLIS Montpellier Danse From Sat. June 24th to Wed. July 5th

Free entrance Montpellier has made culture one of the pillars of its identity, placing it at the centre of its economic and urban development in its drive to become a true cultural destination. The Montpellier Danse festival contributes significantly to the cultural appeal of the Metropole of Montpellier by attracting best dancers in the world and a hugely enthusiastic public. For this high-quality event for the residents of Montpellier and in particular, for France’s amateurs of contemporary dance, of which Montpellier Méditerranée Métropole provides up to €1,538,000, making the Metropole the main partner of the festival and a recognised territory of dance. THE URBAN Sun. 2nd July GROUP OF DANCE 11:00 am This year, as in previous years, the 37th Montpellier Danse event will take place in June. The festival will be opened by the Restinclières / espace fête courtyard award-winning choreographer Angelin Preljocaj and his company G.U.I.D.. During the festival, they will perform in nine INTERVENTION — communes of the Metropole – Castelnau-le-Lez, Lattes, Beaulieu, Grabels, Saussan, Vendargues, Prades-le-Lez, Montaud and (G.U.I.D) Sun. 2nd July Restinclières, to offer shows to all residents. This political will is reaffirmed each year so that residents can have the joy of BALLET 8:00 pm discovering high-quality shows as near to them as possible. Along with the G.U.I.D. company, the choreographer Fabrice PRELJOCAJ Montaud / Ramalingom and his dancers will also be attending the shows around the Metropole. Pierre Combettes Hall courtyard La Fresque — Montpellier Destination Culture rd La Stravaganza Mon. 3 July L’Anoure 8:00 pm Since 2014, under the drive of Philippe Saurel, Mayor of the city of Montpellier, President of Montpellier Méditerranée Vendargues / Espartinas square Métropole, the culture has taken a new turn in placing Montpellier as a real cultural laboratory. This cultural bid is characterised Paysage après 56 — by its innovation, large diversity and high quality, as well as its accessibility for the greatest number of people. Three new major la Bataille Since 2009, Montpellier Danse — 57 infrastructures have also been planned from now up to 2020 : the Moco – Montpellier’s future centre of contemporary art, the … brings free dance performance to Regional Conservatory and the Municipal Archives. Choreography : the Metropolis cities streets, out Angelin Preljocaj of common stages. For the 37th A diverse offering Festival, the Urban Group of Dance Thanks to renowned festivals, nationwide recognised infrastructures, emergence of new talents and development of art in all Fri. 30th June Intervention created by the Ballet its forms, Montpellier is undoubtedly a cultural territory. All the disciplines are represented here : from music to literature, 8:00 pm Preljocaj will show their famous choreographies extracts: the Fresco, from visual arts to theatre, from urban culture to dance and from cinema to patrimony. Beaulieu / Parking du Stade The Stravaganza, The Anuran, — Landscape after the Battle … Angelin A high-quality offering st Sat. 1 July Preljocaj created this Urban Group Support for cultural diffusion, aid for creative process, the realisation of new infrastructures, as well as the development of 11:00 am of Dance Intervention to take place artistic training programmes, show the ambition of a cultural policy that renews itself endlessly and aims for excellence. A true Saussan /Joseph Delteil School’s public spaces. Willing to share their laboratory of experiments, Montpellier is an undeniable cultural destination. courtyard dance pleasure; dancers will answer Montpellier Danse is one of its components. It is an internationally renowned festival of contemporary dance that reunites — audience’s questions after each thousands of spectators, with a full and excellent season offered to spectators each year at Agora- international dance centre, Sat. 1st July representation. tucked away in the heart of the Ursulines Convent in the city centre. 8:00 pm Prades-le-Lez / Market square An accessible offering Making culture accessible to as many people as possible is one of the objectives of the City and the Metropole of Montpellier, © Montpellier Méditerranée Métropole and it’s already confirmed by numerous events and infrastructures. The public has the opportunity to discover, free of charge and often before the rest of the country, artists renowned also outside of French and European borders.

Presse contact : Ophélie Flohic 04 67 13 60 20 / 06 75 92 55 25 [email protected] Montpellier Danse Montpellier Danse at the Metropolis — follow-up at your city

BEAULIEU PÉROLS MASTER CLASSES Stade Parking Jean Giono Media Library th Outside master calsses with the 37 THE URBAN GROUP OF CINEMA Festival’s artists DANCE INTERVENTION Vengo open to everyone (G.U.I.D) BALLET PRELJOCAJ Directed by Tony Gatlif La Fresque (2000, 1h30) ANGELIN PRELJOCAJ, La Stravaganza Sat. 24th June at 3:00 pm L’Anoure given by Natalia Naidich Paysage après la Bataille Polina, danser sa vie th Sat. 24 June Fri. 30th June at 8:00 pm Directed by Valérie Müller and 10:00 am —— Angelin Preljocaj (2016, 1h48) Grabels / City Hall’s courtyard CASTELNAU-LE-LEZ Sat. 1st July at 3:00 pm —— Europe Square —— MASTER CLASS PRADES-LE-LEZ RAFAEL CAMPALLO th FABRICE RAMALINGOM Market square Sun. 25 June Sat. 1st July at 10:00 am THE URBAN GROUP OF 10:00 am —— DANCE INTERVENTION Lattes / Lattara Space CLAPIERS (G.U.I.D) BALLET PRELJOCAJ —— Albert Camus Media Library Sat. 1st July at 8:00 pm FABRICE RAMALINGOM Vengo CINEMA —— st Merce Cunningham, a lifetime RESTINCLIÈRES Sat. 1 July Directed by Tony Gatlif (2000, 1h30) with Antonio Canales of dance espace fête courtyard 10:00 am Documentary of Charles Atlas THE URBAN GROUP OF Caco is a proud, handsome man, head of a family, and very powerful in Castelnau-le-Lez / Europe square the local community. Yet he has been torn to pieces by the death of his (2000, 1h30) DANCE INTERVENTION th beloved daughter. He constantly visits her grave, weeps silently at her Wed. 28 June at 3:00 pm (G.U.I.D) BALLET PRELJOCAJ This meeting became an essential photo and has transferred all his wildly protective love and attention onto Sun. 2nd July at 11:00 am his physically challenged nephew, Diego. It seems that Diego’s father, Polina, danser sa vie —— 58 — and unique moment of the Festival, — 59 between artists and audience, which Caco’s brother, is in hiding after having killed a man from the Caravaca Directed by Valérie Müller et SAUSSAN family, who are equally powerful in the community. They are looking for Angelin Preljocaj (2016, 1h48) Joseph Delteil School courtyard are mostly Montpellier Metropolis vengeance and have come to Caco for justice. When he refuses to betray Wed. 5 th July at 3:00 pm THE URBAN GROUP OF citizens. his brother, the Caravacas grow impatient. When they realize they are —— DANCE INTERVENTION getting nowhere, they threaten to kill Diego. Despite his fierce pride, Caco These master classes target people GRABELS (G.U.I.D) BALLET PRELJOCAJ eventually realizes that the cycle of killing and revenge must be broken. But from all ages and dance knowledge ! City Hall’s courtyard Sat. 1st July at 11:00 am how can he achieve this and protect everyone he loves? MASTER CLASS —— CINEMA —— ANGELIN PRELJOCAJ, VENDARGUES th Sat. 24 June at 3:00 pm : Jean Giono Media Library at Pérols given by Natalia Naidich Espartinas square Polina, danser sa vie In partnership with Sat. 24th June at 10:00 am THE URBAN GROUP OF Directed by Valérie Müller et Angelin Preljocaj (2016, 1h48) —— DANCE INTERVENTION Merce Cunningham, a lifetime of dance LATTES (G.U.I.D) BALLET PRELJOCAJ Moscow, early 90s. Polina, aged 8, is a gifted ballerina. From rd A documentary of Charles Atlas (2000, 1h30) Espace Lattara courtyard Mon. 3 July at 8:00 pm a modest background she joins the prestigious school of MASTER CLASS Professor Bojinsky, who trains dancers for the Bolshoi. He An American Masters production, this documentary explores Merce RAFAEL CAMPALLO immediately grasps her tremendous potential and makes Cunningham’s dancing career from his earliest days at the Cornish school Sun. 25th June at 10:00 am her work so hard that at only 18 her dream finally comes to his present work with the dance computer. Includes archival footage —— true and she enters the prestigious Bolshoi. This is when she of earlier dances as well as newer works, such as «BIPED,» that utilize MONTAUD meets Adrien, a charming French dancer. He will help her to computer technology as an element of dance. Features interviews with Pierre Combettes Hall courtyard discover not only love but, more importantly, a new form of dancers, collaborators, scholars, and Merce himself. dance, more contemporary and expressive, a kind of dance THE URBAN GROUP OF that will change her life forever. From Moscow to Aix-En- —— DANCE INTERVENTION th Provence and Antwerp, from success to disillusion, we follow Wed. 28 june at 3:00 pm : Albert Camus Media Library at Clapiers (G.U.I.D) BALLET PRELJOCAJ Polina’s incredible destiny. In partnership with Sun. 2nd July at 8:00 pm —— Sat.1st July at 3:00 pm Jean Giono Media Library at Pérols Wed. 5th July at 3:00 pm Albert Camus Media Library at Clapiers ÉCHEC & MASTER CHEF-D’ŒUVRE CLASSES

In public at Agora Theatre Hall and in live broadcast on Divergence FM (93.9) From Sat. Jun 24th to Fri. July 7th Free Entrance From 10:00 to 11:00 am On squares and in parks of Montpellier and Metropolis cities

Free Entrance

This meeting became an essential and unique moment of the Festival, between artists and audience. Every morning, for over one Tue.27th June Come to Agora and make heard your hour, one of the 37th Festival’s artists will give a master class. To participate, just bring your envy to share a friendly moment and a Mon. 3rd & voice! pair of comfortable shoes to follow the choreographer’s steps. Fri. 7th July These master classes target people from all ages and dance knowledge ! Live broadcast on Divergence FM, dance 5:00 pm critics present during the festival, will give their opinion about performances. Weather you agree or disagree, feel CHILLOUT free and express your self! Audience, Sat. 24th June Wed. 28th June Sat. 1st July Wed. 5 th July PERFORMANCE Journalists, and arts professionals are Grabels Montpellier Castelnau-le-Lez Montpellier invited to express themselves in an DEBATS open dialogue about previous days City Hall’s courtyard Rimbaud Parc (Les Aubes) Europe square Flower market’s square DAVID WAMPACH FABRICE (Ecusson) performances. 60 — ANGELIN You liked, adored or hated a — 61 PRELJOCAJ ——— RAMALINGOM DANIEL LINEHAN th performance? You’ve been seduced or given by Natalia Naidich, Thu. 29 June ——— ——— rd th you didn’t felt anything at all? You have artistic assistant Montpellier Mon. 3 July Thu. 6 July questions on what you saw? You would ——— Esplanade de la Musique Montpellier Montpellier like to hear other people speaking about th (Beaux-Arts) Nombre d’Or square Clémenceau Parc Sun. 25 June this performance and share comments? Lattes MARIE (Antigone) BERNARDO Lattara space forecourt CHOUINARD EMANUEL GAT MONTET RAFAEL CAMPALLO given by Carol Prieur, ——— ——— artistic assistant th th ——— Wed. 4 July Fri. 7 July ——— Mon. 26th June Montpellier Montpellier Fri. 30 June Guirlande parc (Figuerolles) The Fabre Museum’s Buren Montpellier Montpellier MARCELO EVELIN courtyard City Hall’s courtyard, Tastavin Parc (Mas Drevon) SHARON EYAL Georges Frêche square AYELEN PAROLIN given by Rebecca Hytting MATHILDE ——— artistic assistant MONNIER Sat. 1st July ——— Montpellier Tue. 27th June Pavillon Populaire’s Montpellier courtyard Dionysos square (Antigone) (Esplanade Charles de ANTONIO CANALES Gaulle) MARLENE MONTEIRO FREITAS The Occitanie/Pyrénées-Méditerranée Region supports the Montpellier Danse Festival BNP Paribas Foundation’s commitment to dance and creation

Through this festival, as for the whole season, Montpellier Danse allows members of the public to experience the works of Supporting choreographic creation the greatest choreographers and to acquire detailed knowledge of contemporary dance. For over 30 years, the BNP Paribas Foundation has continuously supported contemporary dance. We have formed our The Region is one of the primary partners of the Montpellier Danse association and supports the 2017 edition of the festival, commitment next to artists who create and explore new frontiers in the field of performing arts.Our methodology is based which is one of the most emblematic dance events both in France and internationally. on long-term relationships, which provide dance companies with time and capacity to research and create. Our goal is to contribute to a vivid and innovative artistic and cultural stage by offering our partners the appropriate conditions to develop According to Carole Delga, President of the Occitanie/Pyrénées-Méditerranée Region, “With a budget of €85.6 million be- their project. As we believe in cross-disciplinary approaches and hybrid experiences, we also support companies in the nefiting culture and heritage in 2017, Occitanie/Pyrénées-Méditerranée ranks amongst the most culturally engaged regions. field of new circus arts. Contemporary dance is one of the hallmarks of the cultural identity of our territory. It holds a central place in the Region’s We accompany: Alonzo King LINES Ballet, Anne Teresa De Keersmaeker/Rosas, Chloé Moglia/Rhizome, Emanuel Gat cultural policy. Dance, Etienne Saglio/Monstre(s), Groupe acrobatique de Tanger, James Thierrée/Cie du Hanneton, Kaori Ito/Himé, Phia As with Montpellier Danse, we also support several major institutions that contribute to the vitality of our region’s choreo- Ménard/Cie Non Nova, Pierre Rigal/Cie dernière minute, Sidi Larbi Cherkaoui/Cie Eastman, Tatiana-Mosio Bongonga/Cie graphic expression, as well as a large number of venues with multidisciplinary programmes and a particular focus on dance. Basinga, Václav Kuneš/420PEOPLE, Wang Ramirez, XY, Yoann Bourgeois. The Region wants to encourage an encounter between members of the public and the artistic works, and to reinforce cultural employment and guarantee an artistic presence throughout the territory. This is why we support creativity, communication, Enlarging audiences and allowing international artistic exchanges and professional training projects in many contemporary dance companies, some of which are of national or even interna- In parallel with its support to creation, the BNP Paribas Foundation is a historical partner of major theaters and institutions tional renown. This support of artists and their work allows dance to spread throughout Occitanie/Pyrénées-Méditerranée, in the field of dance and performing arts. Our common objective: giving access to contemporary dance essentials as well forming a close relationship with members of the public. as promoting emerging forms. Keen to develop artistic cooperation and exchanges across borders, we specifically support Montpellier Danse is an unmissable event for both residents of the region and dance lovers from around the world. Enjoy the international residencies. Festival!» We accompany: Biennale internationale des arts du cirque, Centre National de la Danse, Maison de la Danse de Lyon, 62 — Festival Montpellier Danse, Dance program of Festival d’Avignon and international focuses of Chaillot - Théâtre national. — 63 Additionally, the Region supports contemporary dance at a territorial level, working with: - the Montpellier Centre Chorégraphique National (CCN – National Choreographic Centre) directed by Christian Rizzo. The With Festival Montpellier Danse: local action, international openess and artistic affinity Region is its largest provider of funds along with the State (DRAC); Since 2012, the BNP Paribas Foundation contributes to Montpellier Danse’s program of artistic residencies which - the Centre de Développement Chorégraphique (CDC – Centre of Choreographic Development) Uzès Danse; it acquired has benefited 73 companies until now. This program allows choreographers to create, show their work and establish a this label in 2010, heir to the Festival of new dance, whose nomadic activities allow contemporary dance to have a presence relationship with the Festival’s audience on the long run. With the Agora, which can host artists from all over the world, the across a large area throughout the year, beyond the Festival ; Festival has become a place for research and international exchanges. - The Toulouse Centre de Développement Chorégraphique (Centre for Choreographic Development) – the largest in France and origin of the creation of the label that was officially approved by the Ministère de la Culture et de la Communication The BNP Paribas Foundation and Festival Montpellier Danse also share artistic and aesthetic orientations. A lot of (Ministry of Culture and Communication) in 2010. choreographers accompanied by the Foundation have been programmed at the Festival: Mourad Merzouki (2012), Emanuel Gat (2013, 2014, 2016 and 2017), Sidi Larbi Cherkaoui and Alonzo King in 2014, as well as Phia Ménard in 2015. With a continuing focus on dance, nearly sixty companies based in Occitanie/Pyrénées-Méditerranée received regional sup- In this 2017 edition, choreographer Emanuel Gat dedicates his new piece to Jean-Paul Montanari: TEN WORKS (for Jean- port last year. Paul), scheduled from June 30th to July 2nd at the Agora, gathers ten dancers from Emanuel Gat’s company and ten dancers The Region also supports artists’ residencies that are exclusively focused on contemporary dance, as well as venues with from Lyon’s Opera Ballet. multidisciplinary programming such as the 7 Scènes Nationales (national theatres): the Archipel in Perpignan, the Cratère in Alès, the Scène Nationale de Sète, the Scène Nationale de Narbonne, the Parvis in Tarbes, the Cordeliers in Albi, and the About the BNP Paribas Foundation Estive in Foix, as well as the 9 Scènes Conventionnées (public-funded theatres), including the Théâtre de Nîmes, a theatre for Under the aegis of the Fondation de France, the BNP Paribas Foundation has been playing a key role in corporate contemporary dance. philanthropy for 30 years. It is also encouraging and contributing to the BNP Paribas’ philanthropic policy growth in all parts of the world where the Group does business. Occitanie/Pyrénées-Méditerranée Region Press Contact: Fanny Thévenoud – Mobile: 06 32 89 37 89 The BNP Paribas Foundation’s activities are aimed at promoting innovative projects dedicated to the Arts, Solidarity and the Environment. It provides optimal support to its partners, through a long-term commitment. Since 1984, it is more than 300 cultural projects, 40 research programs and a thousand of social and educational initiatives which profited from its support, in France and all over the world. fondation.bnpparibas.com // @FondationBNPP // www.facebook.com/FondationBNPParibas

Press contact: Heymann Renoult Associées, Sarah Heymann Eléonore Grau, [email protected], Julie Oviedo, [email protected] T. 01 44 61 76 76 – www.heymann-renoult.com 37th FESTIVAL FESTIVAL VENUES TICKETS AGORA PRE-SALES: MONTPELLIER for cards agora, ticketing opens on DANSE SALES CARD March 13th at 9:30 am USEFUL BOOKING OPEN HOURS SEEING MORE INFORMATION FROM MARCH 14 AT 9:30 AM AND PAYING LESS. Making sure you get the best welcome and for safety reasons, we recommend you to arrive 30 minutes 0 800 600 740 before the performance begins. WWW.MONTPELLIERDANSE.COM Four different cards, that will PASS’CULTURE give you access to advantage Card specially design for prices. students under 31 years old, produced by CROUS, the AGORA SOLO CARD: Pass’culture gives you the For 15€, get 30% reduction in 1st opportunity to book 5€ tickets. AGORA, AT AT THE Montpellier Danse By Internet or 2nd range. More info at CROUS de CITÉ INTERNATIONALE Agora, cité internationale www.montpellierdanse.com Montpellier : 04 67 41 50 96 de la danse Learn more about performances, DE LA DANSE MONTPELLIER METROPOLIS AGORA DUO CARD: 18 rue Sainte-Ursule watch videos, read artists € Tramway line 1 & 4 AND . Beaulieu, Stadium parking For 25 , get 30% reduction for REDUCED RATE CS 39520 interviews and book your st nd Louis Blanc stop Avenue du Stade, Bus n°31 two tickets in 1 or 2 range. The reduced rate is granted to 34961 Montpellier Cedex 2 tickets. Secure online payment people under 30 years old, for METROPOLIS . Castelnau-le-Lez, — Montpellier Danse / Booking Place de l’Europe those on minimum wage, people At the last minute AGORA J+ CARD: office / Salle Béjart CITIES’ PUBLIC Tramway line 2, Clairval stop Tramway lines 1 & 4, You are under 25 years old? over 60 years old, personal . Grabels, City Hall’s courtyard Louis Blanc stop At the performance, Cour de l’Agora SPACES For 10€, get 5€ tickets all year*. documents required. Entrance 18 rue Sainte Ursule Place Jean Jaurès, Bus n°24 45 minutes before starting the . Lattes, Espace Lattara courtyard Open from Monday to Friday play, within the limit of the GROUPS, WORKS Place Jean de Lattre de Tassigny from 9:30 am to 12:30 pm and available seats. AGORA +ET - CARD: Théâtre de l’Agora et Foyer . City Hall’s courtyard Tramway line 3, Lattes Centre stop — from 2:00 to 6:00 pm For those on minimum wage . COUNCILS Entrance rue de l’Université place Georges Frêche . Montaud, Salle Pierre Combettes’s Other ticketing venues During festival period : every € € The public relations service Tramway line 1 & 3 courtyard You can book tickets at Fnac, For 10 , get 5 tickets all year*. 64 — is available to help you to — 65 ICI - Centre chorégraphique Moularès stop Rue de la Clarisse, Bus n°36 day from 11:00 am to 6:00 pm Carrefour, Géant, Auchan and . Prades-le-Lez, Place du Marché organizing your visit: national Montpellier / Tramway line 4 Leclerc’s booking offices. You *within the limit of available seats Georges Frêche stop - Bus n°23 [email protected] Occitanie - Direction can also book tickets for almost City hall . Restinclières, Espace fête’s cour- BOOK YOUR The Agora Card is nominative and valid Booking office partner: ODY IT Christian Rizzo / . Dionysos parc (Antigone) tyard TICKETS all performances at Montpellier’s on 1 year during all Montpellier Danse Studio Bagouet Tramway line 1 Chemin de Beaulieu, Bus n°31 tourist office. period (Season and Festival). For Agora J Entrance boulevard Louis Blanc . Saussan, Joseph Delteil’s school + cards and +et- cards, the number of seats Place de l’Europe stop is limited. For buying cards, we thank you courtyard . Rimbaud parc (Les Aubes) OUR TEAM IS AT to bring a passport picture as well as your Agora and other Festival’s Tramway line 2 Rue de Belbezeth, Bus n°33 Payment conditions: personal documents. OPÉRA BERLIOZ / . Vendargues, Espartinas square YOUR SERVICE TO venues are handicap accessible. Les Aubes stop Credit Cards (American Express, . Esplanade de la Musique Bus n°21 HELP YOU IN YOUR Don’t hesitate to warn us of Visa, Eurocard et Mastercard), Thanks to your Agora card, get LE CORUM (Beaux-Arts) your coming, we’ll do our best Esplanade Charles de Gaulle CHOICES: acces to private presentations Tramway line 2 cash, banking or post checks to welcome you as better as à Montpellier and pre-sales! Booking office Beaux-Arts stop (order to Montpellier Danse) Tramway line 1, 2 & 4 At the booking office, at Agora, and phone will be open from we can. . Tastavin parc (Mas Drevon) AT THE MEDIA and holiday vouchers. Possibility Corum stop cité internationale de la danse March 13th at 9 :30 am, only for Tramway line 2 to pay in 3 checks from 90€. Once purchased, tickets cannot be Mas Drevon stop LIBRARIES 18 rue Sainte-Ursule Agora cards holders. exchanged or refunded. With the exception . Pavillon Populaire’s courtyard CS 39520 of cancellation of the show. Programs can . Albert Camus Media library OPÉRA Esplanade Charles de Gaulle 34961 Montpellier Cedex 2 be modified. In this case, tickets are neither at Clapiers refunded, nor exchanged. In case of a show Tramway line 1, 2 & 4 COLLECTING COMÉDIE 12, rue Charles de Gaulle cancellation, the ticket refund is made Corum stop or line 1 & 2 — Place de la Comédie à Montpellier Bus n° 22, TICKETS within three months. Comédie stop Tramway line 1, 2 & 4 Médiathèque Albert Camus stop By phone . Nombre d’Or square (Antigone) Comédie stop 0 800 600 740, free call At Montpellier Danse N° SIRET : 322 375 882 00055 – APE 9001Z Tramway line 1 N° Licences 2-1041886 et 3-1041887 . Jean Giono Media library at Pérols Ticketing office opens only at Arrêt Antigone booking office, at Agora, cité 30, rue Gaston Bazille . Guirlande parc (Figuerolles) the opening hours. For phone internationale de la danse HTH / Tramway line 3 Rue Ronsard reservation, payment deadline 18 rue Sainte-Ursule Pérols Centre stop GRAMMONT Tramway line 3, is up to 4 days. Beyond this CS 39520 Domaine de Grammont plan Cabanes stop or Bus n°11 deadline, we cannot guarantee 34961 Montpellier Cedex 2 . Flower market’s square reservation. — th THÉÂTRE (Ecusson) Attention, from June 12 , only Directly at the performance Tramway 1 & 4 credit card payments will be venue, Louis Blanc stop accepted. from 45 minutes before the LA VIGNETTE . Clémenceau parc Val de Montferrand street beginning of a performance. Tramway line 1 Tramway line 3 & 4 get off at Saint-Eloi stop then follow Saint-Denis stop the signs towards the theater. . Musée Fabre’s Buren courtyard Esplanade Charles de Gaulle Tramway line 1, 2 & 4 Corum stop or line 1 & 2 Comédie stop Creation Free

Fri. 23 Sat. 24 Sun. 25 Mon. 26 Tue. 27 Wed. 28 Thu. 29 Fri. 30 Sat. 1er Sun. 02 Mon. 03 Thu. 04 Wed. 05 Thu. 06 Fri. 07 th Angelin Preljocaj 37 P. 08 8:00 pm 8:00 pm FESTIVAL Les Pièces de New York Ballet de l'Opéra de Lyon P. 18 8:00 pm MONTPELLIER OPÉRA BERLIOZ Lucinda Childs / Dance DANSE LE CORUM Marie Chouinard / Soft virtuosity, still humid, P. 32 8:00 pm on the edge

Dutch National Ballet P. 38 8:00 pm CALENDER Hans van Manen / Programme 1

Dutch National Ballet P. 38 8:00 pm Hans van Manen / Programme 2

Mathilde Monnier & Alan Pauls El Baile P. 14 8:00 pm 8:00 pm

Marlene Monteiro Freitas / Bacchantes OPÉRA COMÉDIE Prélude pour une purge P. 28 8:00 pm 8:00 pm

Sharon Eyal & Gai Behar Love Chapter 2 P. 46 8:00 pm 8:00 pm

Antonio Canales & Rafael Campallo P. 12 10:00 pm 10:00 pm 10:00 pm THÉÂTRE DE Historias Flamencas de Sevilla L'AGORA Ballet de l'Opéra de Lyon - Emanuel Gat P. 20 10:00 pm 10:00 pm 10:00 pm Dance / TENWORKS (for Jean-Paul)

COUR DE Emanuel Gat Présentation publique P. 23 10:00 pm L'AGORA du workshop

David Wampach / ENDO P. 16 6:00 pm 6:00 pm

STUDIO BAGOUET Ayelen Parolin / Autóctonos P. 26 6:00 pm 6:00 pm AGORA Daniel Linehan / Flood P. 36 6:00 pm 6:00 pm

David Wampach / BASCULE P. 44 6:00 pm 6:00 pm 66 — — 67 Steven Cohen / put your heart under your feet… P. 10 8:00 pm 8:00 pm and walk, à Elu HTH / GRAMMONT Marcelo Evelin P. 34 8:00 pm 8:00 pm Dança Doente (Danse Malade)

Fabrice Ramalingom / Nós, tupi or not tupi ? P. 24 8:00 pm 8:00 pm THÉÂTRE LA Nadia Beugré / Tapis Rouge P. 30 6:00 pm VIGNETTE Bernardo Montet / Carne P. 42 6:00 pm 8:00 pm

AT MONTPELLIER’S Emanuel Gat / Duos P. 22 5:00 pm 5:00 pm 4:00 pm 5:00 pm 5:00 pm STREETS Master classes P. 60 10:00 am 10:00 am 10:00 am 10:00 am 10:00 am 10:00 am 10:00 am 10:00 am 10:00 am 10:00 am 10:00 am

BÉJART Cinema P. 53 2:00 pm 2:00 pm 2:00 pm 1:00 pm 2:00 pm 2:00 pm 2:00 pm 2:00 pm 2:00 pm AUDITORIUM / Merce Cunningham, A half-century of P. 48 1:00 pm 1:00 pm 1:00 pm 1:00 pm AGORA creations, translated into images

8:00 pm 11:00 am 11:00 am 8:00 pm Beaulieu Saussan Restinclières Vendargues G.U.I.D - Ballet Preljocaj P. 57 8:00 pm 8:00 pm Prades- Montaud le-Lez AT THE METROPOLIS CITIES 10:00 am 10:00 am 10:00 am Master classes P. 60 Castelnau- Grabels Lattes le-Lez

3:00 pm 3:00 pm 3:00 pm 3:00 pm Cinema at the Media Libraries P. 53 Pérols Clapiers Pérols Clapiers

FOYER / THÉÂTRE Échec et Chef-d'œuvre P. 61 5:00 pm 5:00 pm 5:00 pm DE L'AGORA

Fri. 23 Sat. 24 Sun. 25 Mon. 26 Tue. 27 Wed. 28 Thu. 29 Fri. 30 Sat. 1er Sun. 02 Mon. 03 Thu. 04 Wed. 05 Thu. 06 Fri. 07 Executive Director : Jean-Paul Ticketing MORE ABOUT PROGRAMME AT FESTIVAL Montanari Frédéric Bellina (07 40) MONTPELLIERDANSE.COM! MONTPELLIER Cover : Compagnie Marie [email protected] th Chouinard, Soft virtuosity, still ›Learn more about performances Metropolis Public Relations 37 FESTIVAL PARTNERS humid, on the edge - Photo : Nicolas DANSE 2017 Coordinator watching videos, listening to Ruel - Interprète : Megan Walbaum Director : Jean-Paul Montanari Sophie Luchaire (06 13) interviews or by reading press Graphic design : Les Produits de [email protected] articles at our web site l’épicerie Students Public Relations Agora, cité internationale › Watch the Festival’s Programme subjected to changes Coordinator Montpellier Danse is supported by de la danse, 18 rue Sainte-Ursule presentation movie Non-contractual pictures. Alexis Ruiz-Salmeron (06 15) - CS 39520 - 34961 Montpellier [email protected] Cedex 2 Edition › Online ticketing Nathalie Becquet, Maïwenn Rebours Secretary Administration : 04 67 60 83 60 Naomie Eguienta (83 60) › Join the 37th Festival newsletter [email protected] —— [email protected] and keep informed about Booking : 0 800 600 740 (free phone) MONTPELLIER DANSE TEAM current events www.montpellierdanse.com WORK 2017 Front House Coordinator N° SIRET : 322 375 882 00055 – APE 9001Z / Jean-Gabriel Lubac-Lanson (07 45) N° Licences 2-1041886 et 3-1041887 To reach us by phone please dial 04 [email protected] › Watch Agora’s virtual visits —— 67 60 and then the extension of the Janitor Main Partner : Montpellier person you wish to reach Méditerranée Métropole Malika Talmat Financial support of Occitanie / Sponsors Director Internships Pyrénées-Méditerranée’s regional Jean-Paul Montanari (83 60) Arthur Favel, Marion Gilly, Council, Ministry of culture and [email protected] Emilie Lecellier, Emma Poignet communication, Occitanie’s Regional Office of Cultural Affairs , Deputy Director And all the technical and BNP Paribas Fondation. Gisèle Depuccio (07 43) recerptionist team. —— [email protected] © Montpellier Danse 2017 Founders : Dominique Bagouet tous droits réservés Administration & Georges Frêche Mireille Jouvenel (07 48) Enterprises —— [email protected] The board of directors, had been chaired by Georges Frêche until Accountant 2010 (1938-2010), with the Festival’s Linda Bonfini (07 46) founder Dominique Bagouet (1951- [email protected] — 69 1992). During the presidency of Technic Manager Michel Miaille, consists of : Didier Estrade (07 47) Montpellier Méditerranée [email protected] Métropole’s representatives, Bernard Travier, Isabelle Marsala, Guy Barral, Technic Manager Assitant Maud Bodkin, Rosy Buono, Jackie Jean-Claude Kpoton (07 44) Galabrun Boulbes, Jean-Luc Savy, [email protected] Françoise Debernard, Yves Larbiou. Montpellier City representatives, Secretary General Sonia Kerangueven, Henri de Anne-Sophie Aamodt (07 41) Verbizier, Nicole Liza. [email protected] Conseil régional Occitanie’s Communication Manager representatives, Dominique Nathalie Becquet (06 11) Salomon, Christian Dupraz. [email protected] Press partners State’s representatives, Régine Hatchondo, Laurent Roturier, Press and professionals Manager Nathalie Piat Maïwenn Rebours (06 12) [email protected] Communication and press Assistant Natalia Matus (06 10) [email protected] National Press Manager Dominique Berolatti 06 14 09 19 00 [email protected] Patricia lopez Montpellier Danse, 06 11 36 16 03 [email protected] étape du Grand Tour 2017 Notes...

...... Augustin ...... fait son essant ......

...... photo : Christophe Abramowitz

...... Crédit ...... RCS Radio France : 326-094-471 00017 - RCS Radio France ...... e 37 —FESTIVAL 37e —FESTIVAL MONTPELLIER Angelin Preljocaj / Ballet de l’Opéra de Lyon-Lucinda Childs-Emanuel Gat / Marie Chouinard DANSE—23.06— MONTPELLIER Dutch National Ballet-Hans van Manen / Mathilde Monnier & Alan Pauls / Marlene Monteiro Freitas 07.07—2017 DANSE—23.06— 0800 600 740 www.montpellierdanse.com Sharon Eyal & Gai Behar / Antonio Canales & Rafael Campallo & Segundo Falcón / Steven Cohen / Marcelo Evelin 07.07—2017 Fabrice Ramalingom / Nadia Beugré / Bernardo Montet / David Wampach / Ayelen Parolin / Daniel Linehan

— Press contact: Regional and international press Maïwenn Rebours : T : +33 4 67 60 06 12, [email protected] assisted by Natalia Matus : T : +33 4 67 60 06 10 National press Dominique Berolatti : T : +33 6 14 09 19 00, [email protected] Patrica Lopez : T : +33 6 11 36 16 03, [email protected]