DOSSIER DE PRESSE The cover visual has been created from a picture by Rahi Rezvani. Nederlands Dans Theater, Safe as Houses (2001) by Sol León & Paul Lightfoot, dancers: Sarah Reynolds, Marne van Opstal

— PRESS CONTACTS

Regional and International press Maïwenn Rebours : T : +33 4 67 60 06 12, [email protected] assisted by Clara Kahané : 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] Jacopo Godani Magali Milian & Romuald Luydlin Mourad Merzouki & Kader Attou Sorour Darabi Sylvain Huc Trisha Brown Akram Khan Michèle Murray Aurélien Bory & Shantala Shivalingappa Camille Decourtye & Blaï Mateu Trias Marlene Monteiro Freitas

Paula Pi William Forsythe Yasmeen Godder / Roy Assaf / Hillel Kogan Maud Le Pladec Sylvain Bouillet / Mathieu Desseigne-Ravel / Lucien Reynès Anne Teresa De Keersmaeker & Jean-Guihen Queyras Phia Ménard Paul Lightfoot & Sol León / Marco Goecke / Crystal Pite Fabrice Ramalingom 2

EMBRACING CULTURE AS A SHARED EXPERIENCE

The Montpellier Danse Festival, It inspires new vocations, thus already in its 38th year, invites us generating the conditions to consider the essence of this art necessary for its own evolution. of the body and its diverse forms. The community of the faithful Renowned choreographers and followers of the Festival along young talents alike have created art with curious audiences who have pieces that question our collective Françoise Nyssen the opportunity to discover it for relationship to dance. This taste the first time, need to save the for exploration and the unknown Minister date - from June 22 to July 7, 2018. of Culture is what lends the Festival all its This is a moment of exchange and richness introduction, an opportunity for viewers to open up to genres that Its international scope, which broadens with each aren’t often seen, through a program that focuses on year, belies a dedication to bringing audiences neo-classical, contemporary and hip-hop styles. together, and I’m ecstatic that Montpellier Danse is I warmly thank Jean-Paul Montanari and his so attentive to this aspect. Speaking to the broader teams, as well as the public partners, patrons and public, embracing culture as a shared experience, in local authorities who are committed to this event common but as individuals, that’s what drives us. alongside the Ministry of Culture, promoting dance Dance, perhaps more so than other art forms, derives and its democratization. its existence from the passion of the artists, actors Happy Festival to all. and audiences who experience it.

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IMAGINATIONS AND SENSIBILITIES

« To dance is to fight against cultural capital, well beyond our everything that holds us back, borders. We have hosted the world’s everything that drags us down, leading names, and landmark against weight and burden; it is to creations have been presented at the discover, through one’s body, the Festival or during the Montpellier essence and soul of life, it is to come Danse Season. For this 38th edition, into physical contact with freedom » Philippe Saurel Montpellier Danse welcomes the Jean-Louis Barrault, actor and director greatest choreographers, reveals President of Montpellier Mediterranean Metropolis, young talents and gives us a chance Contemporary dance has its Montpellier Mayor to see, or see again, work by the own grammar, vocabulary, and greatest dance choreographers of language. It is an expression of our time. The Festival also pays oneself, it relays emotion and inner tribute to the famous choreographer experience to produce gesture. It rejects tradition. Trisha Brown, who passed away in 2017, and who Every choreographer, every dancer has their own created several pieces in Montpellier; she was a language, their own style. Attending a contemporary regular guest. dance show, or any other show, demands that the Montpellier Danse is a festival of dance creation par spectator open up, as though departing on a journey excellence, an essential cultural event of international elsewhere, as if setting sail. Each dance is a meeting renown. Each year, it offers us no less than a life of choreographer, dancers, spectators - children and lesson. To move us, to rejoice, to jostle, fill us with adults - of different imaginations and sensibilities. new sensations, expand our horizons… and make us As a founding element of the cultural policy dance. undertaken in Montpellier at the beginning of the 80s, dance strongly contributed to our image as a 4

A FUNDAMENTAL PILLAR OF DEMOCRATIC AND CIVIC ACTIVISM

Montpellier Danse has always stood and civic activism. Culture signifies for creativity and the 38th edition of openness to others, to differences this festival is no exception. Every and to individual and collective year, the most prominent artists and enrichment. Montpellier Danse select emerging talents come here to is fully invested in this collective present their latest work. This year, spirit. Contemporary dance is one several companies from the Occitan Carole Delga of the touchstones of our region’s Region will be treading the Festival cultural identity and occupies an Former Minister boards with new shows: Michèle President of the Region essential place in its cultural policy. Murray from Montpellier, La Zampa Occitanie / Pyrénées-Méditerranée It is entirely natural that we lend from Nîmes, the Ballet du Capitole our support to the Festival, as we from Toulouse, Baro d’evel from do for other important institutions Gensac-sur-Garonne... that contribute to the vitality of The Occitan / Pyrenees- choreographic expression across the Mediterranean Region is delighted and proud to be region. I wish you all beautiful moments of exchange a major partner of an event that contributes to the and emotion during this, the 38th Montpellier Danse cultural reputation of our region throughout the world. Festival! The central pillar of the Region’s cultural policy is to promote access to culture for all, everywhere. For me, culture is a fundamental pillar of democratic 5

A CITY OF DREAMS

Like Wild Strawberries, Ingmar communion, debate, laughter or tears, Bergman’s film, where the old astonishment or passion? And what university professor wanders in a is more, I wondered how long I could dream through a pale, silent, dead city, subsist in a world where the eye and I walked through a strange world. the ear saw or heard nothing that was I quickly understood where this living, surprising, seductive or even impression came from: there was no shocking. Curiously, I noticed that the theatre, no cinema, no dance hall on Michel Miaille disappearance of all these seemingly the streets: the opera was shut and Montpellier Danse President useless things like music and dance, the music halls had been turned into books and museums, libraries and warehouses. Search as I might, the street-art, heralded the disappearance museums had disappeared, as had of all social life. No more encounters, the exhibition halls, the workshops no more debates, no more discoveries and all creative areas. There were or confrontations: no need to meet our no conference rooms, libraries or archives either: even fellow men and share ourselves. the learned academies had merged into a grey and drab What does one do in a dead city? universe. Intrigued, I pushed on: but bookstores no longer One reanimates it - that is to say, one invites the musicians existed, nor even booksellers, and the record stores had and dancers, actors and booksellers, record shops and shut up shop. On and on, I found that radio broadcasting luthiers; and the painters of street-art and the museum houses - the de facto free radios - and television studios no curators and free radio producers. In short, all these longer existed. There were no more painting studios, no useless things were the very essence of life in the city. art photography studios, let alone musicians and luthiers’ I appealed to all those who were directly or indirectly workshops. And even the walls had become strangely responsible for this great healing project: encouraging and clean, or rather uniformly grey: not a single image, street- helping others to return diversity and astonishment to the art had disappeared and with it the winks of the bicycle- city, to spread colour and surprise, to bring equality to benders atop the houses! those who are forgotten, to raise up, reunite and resuscitate Even the historical monuments had vanished, and with the dreams of all those who lived in the city. With that, I them the enchanted stories of times past. saw friendly, anonymous faces approaching, along came The mixture of eras and styles, and the novelties of the authorities responsible for what is called culture... I had inspired architects had given way to the uniform been heard! That’s when I woke up. regularity of all that is soulless and passionless. And on the town square, neither rappers nor hip hop dancers produced notes of fantasy and freedom that had animated afternoons past. Not a soul crossed my path: what exactly does one do in a city where there is nothing to see, nothing to hear, nothing to be surprised about or moved by - nothing that arouses 6

FACE À L’INACCEPTABLE, SOYONS HUMAINS, AGISSONS ! DO BETTER (or, at least as well as) than the last Festival… after such a successful edition with such high quality works presented by Sharon Eyal, Emanuel Gat, Marlene Monteiro Freitas or Hans van Manen. Finally, simply striving to make Festival number 38, graced by the presence of Anne Teresa De Keersmaeker, Akram Khan, Maud Le Pladec and… Marlene Monteiro Freitas (with the Batsheva Dance Company), as vibrant as its predecessor.

PERSEVERING in presenting major European companies to our audiences: Jacopo Godani, a company between Frankfurt and Dresden (or, how to follow on from Forsythe); José Carlos Martinez, with his Spanish company from Madrid, and a special Forsythe night (him again!); the sublime Nederlands Dans Theater, led now by Sol León and Paul Lightfoot (with a new piece by Crystal Pite, and another by Marco Goecke), as well as the Ballet du Capitole de Toulouse, with creations by young Israeli choreographers (Godder, Assaf and Kogan).

ENSURING, that beyond passing trends or fads, the future of European dance is nested in our major J’AGIS POUR PORTER companies. That these resourceful, multi-dancer teams, once they have mastered the academic red- SECOURS ET SAUVER DES VIES tape, and piloted by audacious leaders, will prove themselves to be the most vibrant reservoirs of the JE FAIS UN DON EN LIGNE SUR contemporary repertoire. HTTP://DON.SOSMEDITERRANEE.ORG

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THE POSITION OF THE OTHER ONE

KEEP EXPLORING Centres NEVER FORGETTING the very function of National Dance TRISHA BROWN, keeping her Centers, despite their meagre in our memories, loving everything resources. Immediate support for that this American did for Maud Le Pladec’s latest creation, Montpellier: her artwork It’s a Draw while joyfully journeying with (2002) which still takes pride of Mourad (Merzouki) and Kader place at the Agora, the international (Attou), into their artistic project Jean-Paul Montanari city of dance; her duo You Can with the Moroccan dancers of Montpellier Danse See Us with Bill T. Jones (1995) Casablanca. Director in the Jacques-Cœur Courtyard; and a creation, One Story as in WITNESSING again the Falling (1992), for the Bagouet disappearance of the great masters, company, just a few months before with their immense universes, Dominique’s death. Not forgetting founders of contemporary dance, this essential art his friendship, his laughter and his immense talent, form of 20th century Europe (along with films), which lit up the Montpellier Danse festival for a and accepting an enormous flow of expressions and decade. languages, drawing on other esthetics, other worlds, with the Cape Verdean, Marlene Monteiro Freitas, the DANCING IN THE REGION and finding Brazilian, Paula Pi or the Iranian, Sorour Darabi. a dozen local artists, all living in the new Occitania region, and all together in the same program. Is REMAINING ATTENTIVE to audience there such thing as a regional company? What is the reaction; understanding audience expectations while opposite of a regional artist? What are the emerging trying, without always going the same way, to push questions, both for them and for us, knowing that them a little bit further. And, sometimes, daring to cultural and artistic decentralization should be surprise, or disturb… a kind of proof of respect (or revisited. The big, burning question of the moment, love, maybe). which we are all asking…?

SPEAKING OUT ABOUT WHAT’S KNOWING DEEP DOWN that choreographers HAPPENING IN THE WORLD, and dancers are the true seismometers of our times, Without which dance would just be a hustle-bustle the ultimate heralds of the future. The new shamans, of egocentricity. How can we just sit back today and the new Pythia, speaking unknown, incomprehensible ignore the extraordinary phenomena of displaced tongues: the famous phrase “I don’t understand persons. Migrants… exiles… refugees… lost in the contemporary dance at all!”. Finally, enjoying the Mediterranean… trying desperately to reach our thrill of its enigmatic mystery… shores. Making place for them, in our work, in our imagination? for Bénédicte Pesle (1927-2018) • Crédits photos : ©Paul KOZLOWSKI ©FestivaldesArchitecturesVives

Destination MontpellierMéditerranée

montpellier-tourisme.fr 9

38th FESTIVAL MONTPELLIER DANSE SUMMARY

P.10 P.36 P.52 JACOPO GODANI BATSHEVA DANCE NEDERLANDS Extinction of a Minor Species COMPANY DANS THEATER Marlene Monteiro Sol León & P.12 Freitas Paul Lightfoot LA ZAMPA Canine Jaunâtre 3 Shut Eye Magali Milian Marco Goecke Romuald Luydlin P.38 Woke up Blind Far West PAULA PI CRYSTAL PITE Alexandre Création P.14 SOROUR DARABI P.40 P.54 Savušun COMPAÑIA NACIONAL MONTPELLIER DE DANZA MÉDITERRANÉE P.16 Une soirée avec Forsythe MÉTROPOLE SYLVAIN HUC Sujets P.42 P.55 BALLET DU CAPITOLE FONDATION BNP P.18 Roy Assaf PARIBAS KADER ATTOU Yasmeen Godder MOURAD MERZOUKI Hillel Kogan P.56 Danser Casa MONTPELLIER DANSE P.44 AT THE METROPOLIS P.20 MAUD LE PLADEC TRISHA BROWN Twenty-seven perspectives P.57 une Américaine à Montpellier FABRICE RAMALINGOM A New Wild Blossom P.46 P.22 SYLVAIN HUC NAÏF PRODUCTION AKRAM KHAN Gameboy Sylvain Bouillet XENOS Mathieu Desseigne-Ravel P.58 Lucien Reynès P.24 CINEMA IN MEDIA Des gens qui dansent MICHÈLE MURRAY LIBRARIES Atlas / Etudes P.48 P.61 P.26 ANNE TERESA MONTPELLIER DANSE AURÉLIEN BORY DE KEERSMAEKER IN YOUR CITY aSH, pièce pour JEAN-GUIHEN Shantala Shivalingappa QUEYRAS P.62 Mitten wir im Leben sind OPEN CLASSES P.28 P.50 P.64 « DANCING IN THE PHIA MÉNARD PRACTICAL INFOS REGION » Contes Immoraux by Emmanuel Négrier Partie 1 – Maison Mère P.66 CALENDAR P.30 « DANCING IN THE P.68 REGION » PARTNERS by the artists

P.34 BARO D’EVEL Camille Decourtye Blaï Mateu Trias Là 10 11

Fri. 22nd & Sat. 23rd June 08:00 pm Opéra Berlioz / Le Corum

Agora 1st cat. 25€ / 2nd cat. 20€ / Reduced 1st cat. 28€ / 2nd cat. 22€ Full 1st cat. 35€ / 2nd cat. 28€ / 3rd cat. 16€ / 4th cat. 10€ JACOPO GODANI Dresden Frankfurt Dance Company Extinction of a Minor Species FRANCE PREMIERE

Artistic direction, choreography, light, scenography, costume Jacopo Godani Music 48nord (Ulrich Müller & Siegfried Rössert), New Composition, Strings Parts, Live performed, Rodion Schtschedrin, Basso Ostinato, Live performed With 17 dancers : Felix Berning, Tamás Darai, Daphne Fernberger, Gustavo Gomes, Anne Jung, Clay Koonar, Barbora Kubátová, Zoe Lenzi, Viktoria Nowak, Michael Ostenrath, Claudia Phlips, Vincenzo De Rosa, Carola Sicheri, Joel Small, David Leonidas Thiel, Sam Young-Wright, Ulysse Zangs Production : Dresden Frankfurt Dance Company / In collaboration with Senckenberg Gesellschaft für Naturforschung. With the support of the city of Dresde and the state of Saxe as well as the city of Frankfurt am Main and the state of Hesse. In residence at Hellerau - European Center for the Arts Dresden and at Bockenheimer Depot in Frankfurt am Main

Extinction of a Minor Species structures itself around die away, and is constantly reappearing, unlearning all a series of acts with dance as its hallmark. In this imposed boundaries and squirming against the pressure “environment of actions”, an out-of-time narrative of beauty norms. In the body’s quest to accomplish its permeates the atmosphere to figure purposefully, the own loyalty in movement lies a theatricality. In the boundaries of uncertainty in the construction of an choreographic actions of Extinction lies a harmony and, artistic space, where dance, choreography and body in the assembly of choreographic material lie a freedom empower a furtherance of an aesthetic resistance. of independence, even a sentimental independency.

The imagery of Extinction of a Minor Species centres This production, since its birth, was demanding a essentially on the human body. Before the space is always reflection of what is inside of us: a demand of the the body. Bodies are everywhere in this performance – theatrical. Godani’s more treasured artistic concepts are implied, represented or transformed choreographically all present and contextualized in a myriad of possibilities and artistically. Body images recall us of the Antiquity – as hidden reminiscences, while they allowed this and of mythical wars. Abyssal creatures and cyborg- “environment of actions” decided what had the right fauns lurk on stage while godlike beings whispers in value, in an effort to reach a realm of meaning. Blending unknown tongues. But, we are not able to understand classical shapes and extreme aesthetics, Extinction the language of the body and the flesh anymore. appeals for us to question our values of beauty, to create space for other kind of beauty, to re-evaluate the current Extinction acknowledges how little is necessary to concepts of beauty in society, to re-imagine what we can transform a body: a painted line, a shape, a prosthesis, perceive as beauty, and finally, to allow our vision on it. or a sound. Body attitude also metamorphoses the outside shell of the performers into a narrative: a fragile In a world where it seems that we don’t care neither about body with a dangerous face. Physicality is conceived as a time nor about its preservation, where it seems like all communication, one that animals have, and that humans we do is kill it, beat it, or race against it, Extinction of a had before mastering language. At the beginning, it was Minor Species is a hint to a timeless universe in which any the gesture: a window into the mind. And we, human internal decision have a choreographic repercussion. It animals, continue expressing ourselves through gestures is a place where extinction can be slowed by the efforts and physical signals. to open a space of imagination. Luisa Sancho Escanero But, even having been trained so strongly to not show its artistic coordinator real nature, the human animal – haunted by its ghosts, sometimes terrified, and concealing itself – refuses to 10 11

«In our western tradition most people are still convinced that «art» and «science» Jacopo Godani are two totally different activities of humans that have little in common: “art” is just beautiful, aesthetic, inspiring, a “nice to have” and a kind of luxury that at Montpellier Danse - makes life worth living; «science», instead, is considered to be useful and essential 2005 Anomaly One for our survival and many feel that science has made metaphysics and religion with the Nederlands Dans Theater obsolete and will in the end answer all possible questions. However, the more we 2016 The Primate Trilogy learn about the evolution of mankind, of our body and brain on the one hand and on the limits of our knowledge and scientific understanding on the other hand, the more we see the commonalities: in both art and science it is about perception, understanding and communication, there is a scientific research and an artistic research which both have their – but complementary - strengths, weaknesses and limitations. Jacopo Godani and his Dresden Frankfurt Dance Company are pushing this artistic research to its limits. What is movement and what controls it? What kinds of movements are possible with the human body? How can we transcend the limits of our movements and of our art of dancing set by tradition, culture, our brain and even our biology? How can movements express our complex “selves”? In Jacopo Godani’s vision dancing is the ultimate possibility for a holistic (but non-scientific) self-discovery and self-assurance for a «minor species», that brings so many other species to extinctions so that its own future is in danger.

The Senckenberg Gesellschaft für Naturforschung is looking forward to cooperating with the Dresden Frankfurt Dance Company. Thanks to the change in perspective, an artistic approach expands the purely scientific view of nature and humanity, thereby adding value for researchers, artists and audience members.» Prof. Dr. Dr. h. c. Volker Mosbrugger, Senckenberg-Director General

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Jacopo Godani Jacopo Godani was born in La Spezia, Italy, where he began studying classical ballet and modern dance techniques in 1984 at the Centro studi Danza, under the direction of Loredana Rovagna. He also pursued studies in the visual arts for three years at the Fine Arts School of Carrara. In 1986, Godani was accepted to further his studies at Maurice Béjart’s international dance centre, Mudra in Brussels. In 1988, Godani begun developing his career as a choreographer and created his company in 1990 in Brussels. From 1991 to 2000, he was the main soloist of William Forsythe at the Ballet Frankfurt. Jacopo Godani collaborated with him on several choreographic creation for the Ballet. He created original works for a vast range of international companies as well. Jacopo Godani has been appointed Artistic Director and Choreographer of the Dresden Frankfurt Dance Company beginning with the 2015/2016 season. Godani conceives all stages of work from the initial choreography through to designing the spaces, costumes and sometimes the music. 12 13

Fri. 22nd 6:00 pm & Sat. 23rd June 8:00 pm hTh / Grammont

Agora 15€ / Reduced 18€ / Full 22€

LA ZAMPA Magali Milian & Romuald Luydlin Far West CREATION Dancing in the Region

A project by Magali Milian et Romuald Luydlin With Benjamin Chaval, Sophie Lequenne, Romuald Luydlin, Corine Milian, Magali Milian, Manusound, Marc Sens, Anna Vanneau Light design Laurent Bénard / Sound design & management Valérie Leroux State manager Denis Rateau / Costume creation Lucie Patarozzi Dramaturgy Marie Reverdy / Artistic adviser Marion Muzac Production : La Zampa Coproduction : Festival Montpellier Danse 2018, La Place de la Danse / CDCN Toulouse - Occitanie, Charleroi Danse, Théâtre Molière Scène Nationale de Sète et du Bassin de Thau Accueil en résidence : Montpellier Danse à l’Agora, cité internationale de la danse, L’Odéon-Théâtre de Nîmes, L’archipel Scène Nationale de Perpignan, Théâtre Molière Scène Nationale de Sète et du Bassin de Thau, La Place de la Danse / CDCN Toulouse - Occitanie, PALOMA Scène de musiques actuelles Nîmes Métropole. La Zampa is supported by the Direction Régionale des Affaires Culturelles Occitanie / Pyrénées-Méditerranée with the Aide aux compagnies conventionnées, by the Region Occitanie / Pyrénées-Méditerranée and by the Département du Gard.

Far West is a journey, a trip set between a past voluntarily Immersed in the immensity of unknown spaces, we can left behind and an uncertain future impossible to feel our own dissolution as possible... Then, what would fathom. In an indefinite time, in an undefined and remain to conquer, if not the integrity of our interior limitless space that is only oriented by the movement landscapes ? For their new creation, La Zampa explores towards a faraway horizon, eight men and women form the particular corporality of this «zoon politikon without a caravan by coincidence, lives gathered in the flow of city». Untied from habitus, in an immediate being-there, an existence conjugated in the present, without hope the bodies unfold and open like a box of memories that neither nostalgia. They move forward, one step after would be empty. The scene of Far West could then be another, carry and transport bodies or objects, use a defined as that of a «motionless journey», that attempts stick to lean or hit, build a shelter with some pieces of to embody time and to unveil a possible future. The wood. They live in very old times, perhaps also those temporality of Far West evokes the loop of a story that is to come. Persistent, prosaic or eternal gestures, what replayed. Magali Milian and Romuald Luydlin draw on humanity do these gestures create ? Traveling to a far- the specific sources of the bodies chained in a necessary off west, Magali Milian and Romuald Luydlin, fifteen present because without perspective, between a past years of creation with their company La Zampa, set out condemned to be forgotten and an uncertain future. to accomplish and dig a few movements to their first This unchangeable present forces the clarity of gestures, and primary intentions, which then seem to unfold on bringing out evocative images as solid sketches of a themselves. In this physical and internal research, the world in its terrifying simplicity. Far West is part of a body becomes the measure of everything, time is built long-term exploration initiated by La Zampa, that of without project. With some faithful friends, musicians, a body as the first condition of meaning, the junction dancers and actors, La Zampa undertakes with Far between the emptiness that surrounds us and the desire West a terrifying but always desirable adventure. And that dwells inside us. continues its progress on the path of a scene that Marie Reverdy places the truth of commitment at the forefront of its experiments and requirements. Dominique Crébassol 13

La Zampa La Zampa Magali Milian was trained at the Conservatoire d’Avignon and the CNDC of at Montpellier Danse Angers. Romuald Luydlin learned Butoh with Sumako Koseki and Noh Theater - with Master Kano. Together, they practice aikido and experiment different 2012 Requiem approaches to the body. They founded the company La Zampa where they are 2016 Spekies both choreographers and performers. Since 2000, they address different formats (small forms, group pieces, short films, performances). In 2005, they create Dans le Collimateur which allowed them to deepen their relationship with music. They crossed the world of the collective Red Sniper (Patrick Codenys, musician and Kendell Gers, visual artist), and the director and videographer Bruno Geslin for whom they interpret Crash(s)! Variation, free adaptation of J. G. Ballard’s novel. Far West on tour With the guitarist Marc Sens, they create Requiem (2010) based on texts of the - rapper Casey. In 2012, they join the collective of authors Habits Noirs for the 2018 th creation Dégradés. In 2012/13, they participate in the European program Modul November 9 , L’Archipel, scène Dance / EDN (European Dancehouse Network) with Spekies, piece for a dancer nationale, Perpignan, France and a guitarist, based on a text by Caryl Férey. That same year, they perform in the reprise of Mauvais Genre (Alain Buffard). They are «Associate Artists» at the Théâtre de Nîmes for the 2014/15 and 2015/16 seasons, during which three projects emerge: B & B, creation for young audiences, Pixies 9Ch, sound installation / performance by Valérie Leroux, and finally Opium in March 2016. In 2017, they design Bleu, which device allows to venture into more unusual terrain.

Performance created in working residence at the Agora, cité internationale de la danse with BNP Paribas Foundation support.

With the support of FONDOC, supporting fund for contemporary creation in Occitanie 14 15

Sat. 23rd 4:00 pm & Sun. 24th June 6:00 pm Studio Bagouet / Agora

Agora 15€ / Reduced 18€ / Full 22€

SOROUR DARABI Météores Savušun CRÉATION

Concept, choreography and interpretation Sorour Darabi Light design Jean-Marc Ségalen, Yannick Fouassier Dramaturgy Céline Cartillier / Artistic adviser Mathieu Bouvier Sound artist (live) Pouya Ehsaei Thanks Ali Moini, Bryan Campbell, Hossein Fakhri, Kamnoush Khosrovani, Charlotte Giteau, Sandrine Barrasso Associate production : Météores Coproduction : Festival Montpellier Danse 2018, La Maison CDCN Uzès Gard Occitanie avec le soutien de La Fée Nadou-résidence d’artistes, La Villette Résidences d’artistes, CND Centre national de la danse, Zürcher Theater Spektakel Festival, ICI - Centre chorégraphique national Montpellier-Occitanie With the support of SPEDIDAM as well as a studio loan from the Ballet du Nord CCN Roubaix

Savušun means, literally, “to lament the death of Siavash.” to power imbalance without even choosing it, it’s hugely Siavash was a legendary Persian prince, one of the liberating when one can choose to practice submission major figures in the Shânemêh or Book of Kings, written and to take from it joy and strength,” says a pony-girl around 1000 AD. In Farsi, Siavash means “a person in the film Horse Being by Jérôme Clément-Wilz. I am with a black horse.” Savusun was the name of a pre- intrigued by the life of Nietzsche, particularly by the Islamic ceremony recreating the mourning of the prince story of the Turin horse and the years leading up to his Siavash that was eventually islamised by Shiite muslims death. On January 3, 1889, on the Carlo Alberto square and renamed Ta’zieh, a ceremony that dramatizes the in Turin, Nietzsche embraced a carriage horse who was death of the imams, notably Imam Hossein. Savušun is being whipped by a driver. He then fell unconscious. a choreographic work for one performer that questions The philosopher spent two days at home, prostrate and cultural and collective representations of emotions, immobile. He had signed several letters to friends and particularly grief, fear, and suffering, through the strangers, dated from the preceding days, as Dionysos subversion of the conventions, forms, and gestures and The Crucified. Nietzsche had forever lost his sense of Shiite collective mourning ceremonies. The piece of identity. He would never write again and, soon to give navigates the boundaries dividing histories, cultures, up all speech, he suffered in a state of dementia for the and genders to explore new ways of approaching last eleven years of his life. I project the sadomasochist “minority” bodies and identities. It is a pagan ritual aspect of the project as subtle and poetic. Inspired by Bob that revels in the toppling of relationships of power and Flanagan and his bestknown poem, Why, I wrote three submission, an ode to vulnerability, to affect, to beings poems. The first is called Why I perform, the second, who are affected. It is the intersection of poetry, grief, Why I’m doing a mourning ceremony, and the last, Why joy, dreams, bodies, hands, beards, breasts, body hair, I’m a masochist. The assemblage of these three poems buttocks, lungs, bellies, speakers, speaker stands, people as three elements of a single work evokes the potential standing, feet, finality, the final curtain, theatre curtains, resonances between the making of art, grieving rituals, cables, lights, video projectors, projections… and masochistic practices.

The first title of this project was, In these times of The choreography digs into a diverse range of materials, submission, the enjoyment of submitting oneself is principally the movements and gestures of affliction and the greatest strength. In a certain manner, Savušun catharsis performed by participants in the Muharram celebrates the power of a people who have succeeded ceremonies, their devotional and enigmatic power, on in transforming their submission into its own kind of the edge of what one might call a negative eroticism. This strength. “Most of the time, in any case, we’re subjected research into the “pathetic form”1 of grief and subversive 15 submission plays out along the entirety of the body, from head to toes, from my Sorour Darabi head to someone else’s toes, from my throat to someone else’s voice, from my singing to someone else’s vocal cords, from my tears to someone else’s throat, at Montpellier Danse - from my eyes to someone else’s armpits, from my arms to someone else’s back, 2016 Farci.e from my scream to someone else’s spine… The hands hit against each other, the hands hit against the chest, the hands hit against other hands, the hands hit against the back, the hands hit against someone else’s back, the head hits against the emptiness between itself and the sky… Sorour Darabi Savušun on tour 1 “By this expression, which we recognise today as part of the canon, the art historian Aby Warburg - indicates a passionate gesture borrowed from Ancient Classicism, which has become more intense 2018 through repetitive interpretations, inscribing itself as an ‘energetic imprint’ upon a culture’s subconscious th th and which can sometimes become the center of processes of suppression or unexpected ‘afterlives’ June 26 and 27 , Centre national (Nachleben).” In BOUVIER, Mathieu. “Connaissance par les gouffres.” Interview with Yasmine Hugonnet, de la danse, Pantin, France in www.pourunatlasdesfigures.net, dir. Mathieu Bouvier, La Manufacture, HE.So Lausanne 2018, cited on-line 17 December 2017. — Sorour Darabi Sorour Darabi, borned in Shiraz, is a young iranian choreographer and self- taught. S/he arrives in France in 2013 and followed the Master in choreography exerce at Centre chorégraphique national de Montpellier. In 2016 s/he created Farci.e at the Festival Montpellier Danse. This piece asks the question of identity and gender through language. During the two years of their choreographic studies in France, from 2013 to 2015, s/he conducted a research that materialized in Subject to change, a performance created and presented at CCN Montpellier. Their performance questions the transformation through time and cohabitation with the environment. Sorour Darabi began their artistic career with music, and then discovered their interest in dance at a workshop given by Mohamad Abbasi, an artist through which the underground group of dance forms in Iran. Gradually s/he meets other artists choreographers who kept a link with the Iranian art scene despite their departure abroad, one of the most prominent Ali Moini. The underground group is expanding and become an association, “ Invisible Center of Contemporary Dance ”. The latter extends its place in the underground art and opens its proposals to a wider audience. In 2010, the association formed an underground festival that initially brought together several artists from different backgrounds. It’s at this moment that Sorour Darabi creates and presents three of their solos. In 2011, their first solo, Dans le temps le plus contemporain possible, questions the relationship between body, time and the concept of contemporaneity through what is happening in their body in the present moment: What is the present time ? What are his criteria ? In 2012, the festival is named «Untimely», and Sorour Darabi creates their second solo Refocus. The project is initially formed in a scenic dimension and with the intention of finding the relationship of the body with the object, the installation, the composition of objects, the space. It reveals a state of body that creates a schizophrenic atmosphere. In 2013, just before their departure in France s/he presents From Here to Here, a solo that examines the issue of voluntary memory, and its relation to the objects and actions of everyday life. Sorour Darabi has also performed for Jule Flierl, Une voix n’a pas de jambes sur lesquelles soutenir and for Pauline Brun, Grand bain. In 2018, s/he participated in the creation of Paula Pi, Alexandre for the Festival Montpellier Danse.

Performance created in working residence at the Agora, cité internationale de la danse with BNP Paribas Foundation support. 16 17

Sat. 23rd 6:00 pm & Sun. 24th June 8:00 pm Théâtre la Vignette

Agora 15€ / Reduced 18€ / Full 22€

SYLVAIN HUC Compagnie Divergences Sujets CREATION Dance in the Region

Choreography Sylvain Huc With Gauthier Autant, Juliana Béjaud, David Malan, Mathilde Olivares Assistant, light and sound design Fabrice Planquette Music Alessandro Cortini Production : Cie Divergences / Sylvain Huc Coproduction : Festival Montpellier Danse 2018, L’Usine Centre national des arts de la rue et de l’espace public (Tournefeuille / Toulouse Métropole). Le Gymnase / CDCN Roubaix - Hauts de France. With the support of the CDCN de Toulouse Occitanie, the Hivernales CDCN d’Avignon, the Sala Hiroshima in Barcelone and the Institut Français Barcelone. Cie Divergences is supported by the Ministère de la Culture et de la Communication / DRAC Occitanie with the Aide à la structuration. It is subsidised by Région Occitanie / Pyrénées-Méditerranée, supported by Département du Lot and by Communauté de Communes Cazals-Salviac.

The context that Sujets finds itself in is that of a desire yet even if I feel that I am perhaps in the worst position to reconstruct my work with bodies, movement and to comment on my own creation, freeing myself of the stage. Calling into question my experience as much any sense is unheard of for me. So rather than regret as the tools and the reasons that push me into casting anything I preferred to demand this relinquishing of bodies onto the theatrical stage has today become sense and concern myself with that which can become something inevitable for me. The occasion and the writing : bodies, sounds, lighting, settings, sensations... pretext to fully experience what I want to do with, and reveal of, the body. Nevertheless, in 2016 I brought together four other dancers for a workshop around Seen from a certain angle these bodies are of four kinds. these same questions. For a whole week I shut out all Firstly, those perpetually in motion. Secondly, those other things including any preconceived ideas other who sometimes pause. Thirdly, those who, short of being than that of investigating the body. I came out exhalted driven off, never stir from the coign they have won, and and delighted by these few days, and my understanding when driven off, pounce on the first free one that offers, that the body as a raw material offers an inexhaustible and freeze again. source of answers. Samuel Beckett, The Lost Ones

Without sense These subjects are reduced to the state of hominid, It is of course from the body that the quintet emerges. examples of a human species that is becoming extinct The investigations conducted included absolutely no or in the very first stages of its evolution. We don’t know prior intention, no aim nor reason. And it was truly and we won’t know. Sujets where, as Beckett states, there invaluable as much as it was unusual for me to abandon is no-one. The same Beckett, indeed, whose bodies in The myself in this way to the dark or light folds of the bodies. Lost Ones could be an echo of these. The first ones obey I let myself face reality and follow my instinct to allow the elusive laws, logic and arithmetic in an unshaped myself to be carried along by this absence of intention. space, a temporary space that is neither objective nor What at the outset seemed to me to be perilous turned subjective and in which they are stuck. We don’t question out to be a saving grace. Nevertheless, it was not without the when, the where nor the why. Only the how can be conditions that I imposed this approach. A safeguard, a envisaged. In the same way that an archeological dig beacon, a look-out post … sense accompanied me at all exposes the remains of a future humanity, this project moments and it was an effort for me to push it away. And will offer the spectator an inversed mythology. These 17 fragments of a post-facebook or a pre-civilisation humanity will build a future Sujets on tour myth which could be what we now call the anthropocene and designates the - historical period which sees man not only transform his planet but also leave 2018 irreparable traces in the geological strata. Beckett’s The Lost Ones is a place of December 7th, L’Arsenic, Gindou, power, of laws and of violence. The bodies there are by turns authoritative or France blameworthy without in any way being subjected to any sort of clearly set out morality. Furthermore, those in The Lost Ones are the bodies of non-humans, deprived of language and who make gestures that no longer belong to them. They just are, and that in itself is a lot. The dancers will bare their bodies. They will proceed like this in order to don their own skin, this original, mythical costume, stripping off in a simple opening scene. If nudity is used, it is not to reveal the raw truth but rather, a unique costume which is uniform yet invincibly singular. Nudity is neither the clothing of glory before the “fall”, nor is it the deprivation of a social clothing, but rather, in this case, it is the best way to reveal the infinite variations of the bodies. But nudity and undressing pose a problem. In the tradition of Christianity, nudity is a lacking, the loss of a cloth of mercy which covers the already “nude” body even if this latter expression is unsuitable. Nudity in this case is the knowledge that something invisible and without substance has been lost. There is no end of interpretations and theology is prolific on the matter. And yet it is possible to take another view of this absence of the content of knowledge. It might be simply knowing that there is a possiblity to know. Behind this so-called cloth of mercy, there is nothing; there is nothing behind me, I am pure visibility and presence: such is nudity beyond any secret. According to Giorgio Agamben (Nudities, 2009), it is the pure appearance and simple exhibition of oneself. He concludes beautifully, “nudity which, just as a toneless voice is meaningless (…) touches us precisely for this reason”. — Sylvain Huc After completing university studies in history and a master’s degree in art history - his thesis on the political anthropology of Greek history focused on « bestiality, savagery and feminine sexuality in ancient Greece » - Sylvain Huc discovered contemporary dance and unexpectedly changed course to pursue it. He gained admission into the program of the CDC of Toulouse in 2003. After dancing with some dance companies (La Zampa, Laura Scozzi…), he began creating his own performances with Divergences Company in 2014. His work is first defined by a strict physical approach that is very grounded in the body rather than in dance. His first performance, Little red ridind hood, a piece for young audience, establishes a specific choreographic work that puts the body, its moves, its consistency in strong interaction with sound and light. Rotkäppchen, an adult version of the same murderous tale, keeps digging this connection between eroticism, cruelty and flesh. Then comes Kapput, a piece for four performers which focused on failure. In 2016, the trio Boys don’t cry, explores masculine identity, its injunctions and orders, its dead-end and its frailties. The same year, Sylvain follows on the topic with several students and creates Gameboy during sessions in a university research laboratory. His last solo Lex will be premiered in Roubaix during festival Le Grand Bain in March 2019.

Performance created in working residence at the Agora, cité internationale de la danse with BNP Paribas Foundation support.

With the support of FONDOC, supporting fund for contemporary creation in Occitanie 18 19

Sat. 23rd / Sun. 24th & Mon. 25th June 10:00 pm Théâtre de l’Agora

Agora 25€ / Reduced 28€ / Full 35€ KADER ATTOU MOURAD MERZOUKI Danser Casa CREATION

Artistic direction and choreography Kader Attou et Mourad Merzouki With Ayoub Abekkane, Mossab Belhajali, Yassine El Moussaoui, Oussama El Yousfi, Aymen Fikri, Stella Keys, Hatim Laamarti, Ahmed Samoud Choreographers assistants Virgile Dagneaux et Christophe Gellon Light Madjid Hakimi / Costumes Emilie Carpentier Associate production : Etat d’esprit Productions Coproduction : Festival Montpellier Danse 2018, Fondation Touria et Abdelaziz Tazi, Casa events et animations, Centre chorégraphique national de Créteil et du Val-de- Marne, Centre chorégraphique national de La Rochelle, Théâtre du Vellein, CAPI – Villefontaine - Théâtre de Chartres, Etat d’esprit Productions, l’Aparté With the support of the Institut français du Maroc

Interview Following a week of rehearsals with the dancers last with Kader Attou & Mourad Merzouki May, what is your approach to working with them? MM: It’s an open project taking place over a oneyear by Anne-Sophie Dupoux, May 2017 period, which leaves plenty of time to get to know one another. It’s built around dancers who want to transition What motivated your desire to work with Moroccan from the street to the stage and go beyond their limits. dancers? In addition to giving them the opportunity to change MM: This project is an integral part of what drives us, so their fate, it’s an artistic challenge as an artist. What accepting the proposal was quite simple. We want to pass can we do with these bodies, this energy, this history along our experience in the hope that these dancers will and this culture? How can we convey all of that in a continue to grow. Personally, this project speaks to my performance? innermost self because many aspects are related to my KA: Even though they’re not seasoned dancers, they own story and to what these dancers are and represent. are nevertheless seasoned in their state of being and KA: These projects give us a better understanding of their generosity. We enjoy exploring their strengths and why we’re in dance and how dance is like an opening vulnerabilities. And the whole point of this creation is to and a liberation. And, in our own journeys, there have lead them elsewhere, beyond their respective techniques, been people, mentors, who believed in us and helped us to embody a choreographic vision as interpreters on get to where we are today. Now, we also belong here, and stage. it is our turn to be the mentors. You last worked together in 2003, with a show How did you feel in December 2016 during the performed in Algeria based on pieces from your audition that attracted more than 180 Moroccan respective repertoires. Today, how do you approach dancers? your collaboration? MM: The audition was a surprise! When you see all MM: Kader and I want an experience of sharing and these young people, their talent, their will to exist and exchanging. We want to create together and show that to share, you can’t help but be affected. This positive it can be done. Even though we went our separate energy is the opposite of what we’re going through in ways more than twenty years ago, we are thrilled to be France. It offers the best response to the prejudice some working together again to tackle this new challenge. Westerners feel toward the Arab world. KA: We’re sharing an adventure built around the KA: Hip-hop has a universal, global dimension, but is dancers. We’re sure it will lead to a performance. nourished by its immediate surroundings, its culture and Already, after five days of rehearsals, we can see a real geographical location. At the audition, we discovered difference between the first and fifth days, which says a Moroccan dancers with excellent technical skills and lot about their expectations, their investment and our loads of spontaneous energy. ability to invent with them. 19

Kader Attou Kader Attou Kader Attou is an artistic director, dancer and choreographer of Accrorap company. Athina in 1994 marks the start of Accrorap on the scene of the the at Montpellier Danse Lyon Dance Biennale. Prière pour un fou (1999) try to renew the dialogue - that the Algerian drama gives to this times more and more painfully unlikely. 1993 Je te regarde, Tu me dévisages, Douar (2004), designed for the Algerian Year in France, wonders the questions … Nous dansons - avec Gilles of exile, annoy, echo of young worries from French and Algerian areas. Petites Rondot - Accrorap (during histoires.com (2008) tells a popular France, with simplicity, lightness, keeping a Comédie de la danse) committed purpose. In 2008, Kader Attou is designated director of the national 2003 Mekech Mouchkin (y’a pas de choreographic Center of La Rochelle and Poitou Charentes. He is the first hip problème) with Mourad Merzouki hop choreographer to be designated as a director for this type of institution. In 2004 Douar 2013, Kader Attou comes back to the roots of hip hop with The Roots. 2006 Prière pour un fou 2008 Petites histoires.com Mourad Merzouki 2010 Symfonia piesni zalosnych Major figure on the hip hop scene since the early 90s, choreographer Mourad 2014 The Roots Merzouki begins at the age of seven, learning circus and martial arts in Lyon’s 2015 OPUS14 eastern suburbs. At fifteen, he gravitated towards dance through inspiration drawn from hip hop culture and soon created his first dance company Accrorap 2016 Yatra with Andrès Marín in 1989, with Kader Attou, Eric Mezino and Chaouki Saïd. Accrorap performed 2018 Un break à Mozart 1.1 Athina during the 1994 Dance Biennial in Lyon and was acclaimed for bringing hip hop from the street to the stage. In 1996, Mourad Merzouki decided to establish his own company Käfig. He also was instrumental in the creation of the Mourad Merzouki Pôle Pik Choreography Center in Bron as well as the Karavel Festival. In June at Montpellier Danse 2009, Mourad Merzouki was appointed director of the National Choreography - Center of Créteil and Val-de-Marne. In 2013, he created the Kalypso Festival, 1993 Je te regarde, Tu me dévisages, bringing the mainstream promotion of hip hop dance companies to Paris. … Nous dansons - with Gilles Rondot - Accrorap (during Comédie de la danse) 1994 Athina 1996 Käfig 1997 Génération Hip-Hop 1997 Rendez-vous with Josette Baïz - Cie Place Blanche 1998 Récital 2001 Dix versions 2002 Le Chêne et le roseau — 2003 Mekech Mouchkin (y’a pas de Danser Casa on tour problème) - 2003 Corps est graphique 2018 2005 L’Ad a p t é September 21st, 22nd, Festival de danse, Düsseldorf, Allemagne 2006 Terrain vague 2008 Agwa 2019 2008 Tricoté January 13th, Théâtre de la Fleuriaye, Carquefou, France 2010 Correria th th January 15 , 16 , Théâtre le Rive Gauche, St Etienne du Rouvray, France 2010 Boxe Boxe st rd February 1 to 3 , Festival Suresnes cités danse, Suresnes, France 2012 Yo Gee Ti th th February 6 , 7 , Le Fanal – Scène Nationale, St Nazaire, France 2012 Käfig Brasil February 12th, Salle Jacques Brel, Pantin, France 2015 Pixel February 14th, 15th, Théâtre Romain Rolland, Villejuif, France 2016 Repertoire#1 February 17th, Théâtre Paul Eluard, Choisy le Roi, France March 5th, Théâtre d’Auxerre, Auxerre, France 2017 Boxe Boxe Brasil March 9th, Théâtre de Chartres, Chartres, France 2018 Danser Casa March 14th, 15th, Espace le Pin Galant, Mérignac, France 2018 Vertikal (18-19 Season) March 19th, Théâtre la Colonne, Miramas, France March 21st, 22nd, L’Autre Scène, Vedène, France March 26th, Centre culturel, Vitrolles, France April 2nd, 3rd, Bonlieu - Scène Nationale, Annecy, France April 12nd, 13rd, Scène Nationale, St Quentin en Yvelines, France May 15th, 16th, Centre Simone Signoret, Villefontaine, France May 17th, Le Théâtre des Cordeliers, Annonay, France June 19th to 22nd, Grande Halle de la Villette, Paris, France 20 21

From Fri. 22nd June to Sat. 07th July 12:00 pm to 6:00 pm Salle Béjart / Agora

Free entry

EXPOSITION / INSTALLATION

TRISHA BROWN AN AMERICAN IN MONTPELLIER CREATION

An installation by Agnès Izrine, Lise Ott and Fabrice Ramalingom Pictures Marc Ginot, Laurent Philippe

Production Festival Montpellier Danse 2018 Thanks Trisha Brown Dance Company, INA, CNC Images de la Culture, Les carnets Bagouet, Radio FM+

This tribute to the great choreographer, Trisha Brown And so, in 1992, Bagouet quite naturally suggested to (1936-2017), who passed away last year, takes the form of Trisha that she create a new piece for his company (she an installation conceived around an enormous charcoal had never done this before): thus we had One Story as in on paper drawing, 3.4 m by 2.7 m in size, created during Falling. She also directed a number of exclusive projects It’s a Draw events at the 2002 Montpellier Festival of at Montpellier Danse: the duet with Bill T. Jones in 1995, Dance… which has since been displayed in the Salle You Can See Us, for example, or the astonishing moment Béjart at Montpellier’s Agora, cité internationale de la It’s a Draw in 2002 where she draws with black charcoal danse. on giant white sheets of paper. This drawing, which now hangs on the walls of the Salle Béjart, is the centrepiece The central piece of this exhibit, named Trisha Brown, an of today’s exhibition. American in Montpellier, offers a starting point enabling us to experience the famous “Brownian” movement. Rather than presenting an exhaustive range of unrelated works, we deliberately selected pieces and moments in which her artistic and amiable choreography marked the city. What results is a journey along which the memory speaks through intimate stories and recitals using photography, film and written words. Invited by Dominique Bagouet for the first time in 1982, on the occasion of the second Montpellier Danse festival, Trisha Brown performed a very early rendition of her revolutionary creation Set and Reset. The image of this dancer walking perpendicularly along the wall will remain engraved in the retinas of her early spectators. Trisha Brown and Dominique Bagouet were very close and had very similar conceptions of body and movement. 21

2007 TRISHA BROWN AT How long does the subject linger on the edge of the volume… (2005), Present Tense (2003), MONTPELLIER DANSE I love my robots (Création) June 30th – Opéra Berlioz / Le Corum FROM 1982 TO 2013 Early Works : Sticks (1973), Accumulation (1971), Floor of the forest (1970), Group Primary Accumulation (1970), Spanish Dance (1973), Figure Eight (1974) July 1st and 2nd for 5 performances - Musée Fabre 1982 - Line Up (1976), Glacial Decoy (1979), 2010 Set and Reset (Création) June 02nd – Théâtre de Grammont Vernissage of the hanging of Trisha Brown’s drawing - June 21st - Salle Béjart, in the presence of the artist 1987 - Opal Loop (1980), Lateral Pass (1985), 2013 Set and Reset (1982) Astral Convertible (1989), If you couldn’t see me (1994), June 26th and 27th – Opéra Comédie I’m going to toss my arms – If you catch them et they’re yours (2011) Glacial Decoy (1979), Accumulation (1971), June 27th - Théâtre de l’Agora Talking (1973), Watermotor (1977), Newark (1987) Creation in June 29th – Opéra Comédie - 1989 Motor (1967), Opal Loop (1980), Lateral Pass (1985), Astral Convertible (Création) June 22nd, 23rd and 24th – Cour Jacques Cœur DANCE WORKSHOP - 1992 Set and Reset by Trisha Brown, Foray-Foret (1990) by the Trisha Brown Company diving in a unique process Pour MG : The Movie (1991) by the Trisha Brown with Lance Gries, former dancer of the Trisha Brown Company Company and teacher One Story as in Falling, creation for la Compagnie Bagouet. June 25th, 26th and 27th – Cour des Ursulines JULY TUE. 03RD TO SAT. 07TH - 10am to 12pm & 2pm to 5pm 1995 Yet Another Story (1994) AGORA, CITÉ INTERNATIONALE You Can See Us (Création) danced by Trisha Brown DE LA DANSE and Bill T Jones M.O (1995) June 28th and 29th – Cour Jacques-Cœur For professional and semi-professional dancers - In conjunction with the Trisha Brown, an American in 2002 Montpellier exhibition, in which he participates, Fabrice Canto Pianto (1998), Twelve Ton Rose (1996), Ramalingom, associate artist at the Agora, offers a workshop Geometry of Quiet (Création) for professional and semi-professional dancers around June 28th and 29th – Opéra Berlioz / Le Corum Trisha Brown’s process of choreographic composition. El trilogy : Five Parts Weather Invention (1999), Rapture Lance Gries, one of the most acclaimed dancers in Trisha to Leon James (2000), Groove and Counter move (2000) Brown’s company and an excellent teacher, will lead this th June 30 Opéra Berlioz / Le Corum workshop and offer an immersive journey into the unique It’s a Draw (Creation) process of composition used in Set and Reset, which requires July 1st to 6th for 6 performances – Studio / Théâtre du each performer to engage as a teacher, an improviser, a Hangar creator, a builder.

150€ Registration : [email protected] For more information : www.montpellierdanse.com 22 23

Tue. 26th & Wed. 27th June 8:00 pm Opéra Berlioz / Le Corum

Agora 1st cat. 25€ / 2nd cat. 20€ / Reduced 1st cat. 28€ / 2nd cat. 22€ Full 1st cat. 35€ / 2nd cat. 28€ / 3rd cat. 16€ / 4th cat. 10€ AKRAM KHAN Akram Khan Company XENOS CREATION

Director, choreographer and performer Akram Khan Set designer Mirella Weingarten / Light designer Michael Hulls Costume designer Kimie Nakano / Original music score Vincenzo Lamagna Dramaturgy Ruth Little / Writer Jordan Tannahill / Rehearsal director Mavin Khoo Live music by Nina Harries, Andrew Maddick, B C Manjunath, Tamar Osborn, Aditya Prakash / Accessories Louise Edge (LFX props & special fx) Production : Farooq Chaudhry Commissioned by 14-18 NOW, british artistic program for the World War One centenary Coproduction : Festival Montpellier Danse 2018, Onassis Cultural Centre – Athens, The Grange Festival Hampshire, Sadler’s Wells London, New Vision Arts Festival Hong Kong, Théâtre de la Ville Paris, Les Théâtres de la Ville de Luxembourg, National Arts Centre Ottawa, The 20th China Shanghai International Arts Festival (CSIAF), Centro Cultural de Belém, Festspielhaus St. Pölten, Grec 2018 Festival de Barcelona, HELLERAU – European Center for the Arts Dresden, Edinburgh International Festival, Adelaïde Festival, Julidans Amsterdam, Canadian Stage Toronto, Romaeuropa Festival, Torinodanza festival / Teatro Stabile di Torino - Teatro Nazionale, Lincoln Center for the Performing Arts New York, University of California Berkeley, Danse Danse Montreal, Curve Leicester. Partenariat COLAS / Akram Khan Company Akram Khan Company is supported by Arts Council England. Akram Khan is Sadler’s Wells Londres’ and Curve Leicester’s associated artist. Created in residence at The Grange Festival, Hampshire and Onassis Cultural Centre, Athens.

But just as there is no fire without fuel they needed new strangers were interred in archives following the rise of Indian to burn So they began making strangers of themselves nationalism and the rejection of colonial rule. Estranged Jordan Tannahill from their own histories, homelands, and countrymen, they became xenoi. For his rebellion against Zeus, Prometheus was The text for XENOS, by acclaimed Canadian playwright punished by being chained to a rock in the Caucasus, Jordan Tannahill, gives voice to the shell-shocked dream an eagle tearing daily at his liver. The theft of fire from of a colonial soldier trapped in a trench, his body torn the gods marked the beginning of human domination by shrapnel. To be human is to be made of mud, and of the planet by means of technology – a victory which to return to it. In a pool of fire between life and death, bore such terrible fruit during the First World War. the soldier rises from the earth as Prometheus, to XENOS explores the central question at the heart of the shape mankind from clay and witness his triumph and myth – was Prometheus’ gift the blessing or the curse of destruction, and to challenge the will of his tormentor, mankind? By revisiting the classical Greek myth in the Zeus. In Tannahill’s retelling, Prometheus is cursed by context of the most violent century in human history, Zeus to return again and again to live among men as XENOS reveals the beauty and horror of the human man, woman and child, to witness the cycle of suffering condition. as well as the joy his gifts of fire and knowledge have At its centre is a colonial soldier, one of over 4 million brought. His only possession is a wooden box – men mobilised on behalf of the British empire. 1.5 Pandora’s bitter legacy - from which all evil has flown million of these recruits were Indian, mostly peasant- out into the world. warriors from North and North-Western India, and Akram Khan’s movement language shifts between they fought and died in Europe, Africa and the Middle classical kathak and contemporary dance on Mirella East. ‘This is not war’, wrote one wounded Indian sepoy. Weingarten’s precipitous and symbolic set. His ‘It is the ending of the world. This is just such a war as Prometheus is a warrior-trickster, victim-perpetrator, was related in the Mahabharata’. defying categories of duty, loyalty and gender. XENOS Many sepoys were buried abroad, while for those takes place on the border between East and West, who returned home, often mutilated and traumatised, past and present, mythology and technology, where another form of erasure followed, as their stories humanity stands in wonder and disarray. 23

XENOS is a portrait of Homo Deus brought back to his origins to be broken Akram Khan and remade, to meet himself as both stranger and friend. Prometheus means forethought. Among Prometheus’ gifts to humanity, whom he loved, according at Montpellier Danse - to Aeschylus, was the gift of art. Is art, and its capacity to hold a mirror to 2002 Polaroid Feet mankind and our possible futures, the small box in which hope and love remain? 2002 Kaash Ruth Little, dramaturg 2005 Ma — 2008 Bahok 2010 Gnosis Akram Khan 2013 DESH 2015 Torobaka avec Israel Galván Akram Khan was born in London into a family from Bangladesh. He began dancing at the age of seven and trained in the classical dance form of Kathak. He founded the Akram Khan Company in 2000 and produced several perfomances ever since such as Kaash (2002), zero degrees (2005), Vertical Road (2010), Gnosis (2010), DESH (2011), iTMOi (in the mind of igor) (2013) and Until the Lions (2016). Akram Khan has collaborated with artists from other cultures and XENOS on tour disciplines. His previous collaborators include the National Ballet of China, - actress Juliette Binoche, ballerina Sylvie Guillem, choreographers/dancers Sidi 2018 Larbi Cherkaoui and Israel Galván, singer Kylie Minogue, visual artists Anish July 3rd to 5th, Grec Festival of Kapoor, Antony Gormley and Tim Yip, writer Hanif Kureishi and composers Barcelona, Barcelona, Spain Steve Reich, Nitin Sawhney, Jocelyn Pook and Ben Frost. July 13th au 15th, Julidans, On 2012, he created a section of the London Olympic Games Opening Ceremony. Amsterdam, Netherlands As a choreographer, Akram Khan has developed a close collaboration with August 16th to 18th, Edinburgh English National Ballet and its Artistic Director Tamara Rojo. In 2014, he creates Festival, United Kingdom the short piece Dust, part of the Lest We Forget programme, which led to an September 21st, 22nd, Curve invitation to create his own version of the iconic romantic ballet Giselle. Leicester, United Kingdom Akram Khan is an ssociate artist of Sadler’s Wells, London and Curve, Leicester. October 11th to 13th, Centre National des Arts, Ottawa, Canada October 18th to 21st, Canadian Stage, Toronto, Canada October 31st, November 1st, Lincoln Center, New York, USA December 7th, 8th, Tanz an den Bühnen Köln, Cologne, Germany 24 25

Wed. 27th June 4:00 pm (1st program) & 10:00 pm (2nd program) Studio Bagouet / Agora

Agora 1st program 15€ / both programs 21€ Reduced 1st program 18€ / both programs 24€ Full 1st program : 22€ / both programs 30€ MICHÈLE MURRAY PLAY Michèle Murray Atlas / Etudes CREATION Dancing in the Region

Artistic direction, concept Michèle Murray / Artistic collaboration Maya Brosch Creation, performance Alexandre Bachelard, Kim Ceysens, Elodie Fuster Puig, Marie Leca, Manuel Molino, Jonathan Sanchez Music Gerome Nox (Etudes #4, #5, #9) Light design Catherine Noden Production : PLAY Michèle Murray Coproduction : Festival Montpellier Danse 2018, Zentrum Zeitgenössischer Tanz - Hochschule für Musik und Tanz Köln, ICI-Centre chorégraphique national Montpellier Occitanie Contribution to creation : Conseil Général De L’Hérault Support : La Maison CDCN Uzès Gard Occitanie Residences : Montpellier Danse - Agora, cité internationale de la danse, Espace Bernard Glandier Montpellier, Zentrum Zeitgenössischer Tanz - Hochschule für Musik und Tanz Köln, Théâtre La Cigalière Sérignan Public partners : Ministère de la Culture – Direction Régionale des Affaires Culturelles Occitanie / Pyrénées-Méditerranée au titre de l’Aide au projet, la Région Occitanie / Pyrénées-Méditerranée, la Ville de Montpellier. With a ponctual support from Réseau en scène, for the Aide à la Mobilité and from the Institut Français

TheAtlas / Etudes project consists in a series of ten short assembling images which at first seem to have no pieces concerned with bodies and body representations relation whatsoever, but which, when put together, resonating with our times. The question at the heart raise questions about a given subject. In the case of our of this work: what stories do bodies tell and how do project, movement material, subjects, choreographic they tell it? These short pieces (maximum 20 minutes scores and improvisational rules are very different for each) are independent and can be performed separately, each piece, but all are concerned with the body and its but all are linked through form, inspired by the study current representation. such as one finds in painting or music, as well as The choreographic scores develop between abstraction through content (the body, body representations, and and narration, assembling movement material and contemporary mythologies). images coming from our common cultural “image bank” and background. Why Atlas? The methods for creating these scores follow the same Form and content of this series are inspired by the principle: most pieces use different improvisational geographical atlas. An atlas is a collection of maps, rules, some have a fixed score. Some pieces were created abstract images of a territory at a certain point in time in relation to a musical composition, some prior to and space. An atlas can be flipped through without the musical composition. Put together, these different respecting any particular order; it has neither beginning creational processes reflect current artistic questions. nor end. As regards our project, these pieces too have neither classical beginning nor end. Instead they Why Studies? function like snapshots in time, or like maps giving us -the pieces are short (maximum 20 minutes each) information about a situation. They are distinct although -they work with simple means (no stage set, no they form a collection. accessories) The project is inspired by the “Mnemosyne” atlas, a -they focus on one technical and / or artistic point, in series of images collected by art historian Aby Warburg, reference to the term used in music or painting and in particular by his thinking and his method: -each one is invented with the constraint of a single 25 movement material, one way of using space and time, one type of relationship Michèle Murray between dancers The pieces can be performed in different manners: at Montpellier Danse - -as independent “choreographic objects”: in this case, they can be shown in 2003 Vladivostok various combinations, different spaces (festivals, museums, galleries, stage etc.) 2004 Vladivostok and at different times of the day 2005 Velvet -they can be performed as an evening length work with a choice of certain studies 2013 Phoenix -or all ten studies can be performed in a row (approximately 2 ½ hours plus interlude) Our aim is to create a choreographic and spatial atlas of contemporary bodies and the stories they tell. — Michèle Murray Of French and American nationality, she first trained in ballet in Düsseldorf before studying contemporary dance in New York with Merce Cunningham and at Movement research. She has participated in many choreographic projects as a dancer and artistic counselor in particular with Didier Théron in Montpellier and Bernardo Montet at the National Choreographic Center in Tours. In 2000, Michèle Murray began developing her work within the Michèle Murray Company, renamed Murray / Brosch Productions in 2008 for her artistic collaboration with work partner Maya Brosch. In 2012, Michèle Murray founded PLAY, a live art and dance company.

Performance created in working residence at the Agora, cité internationale de la danse with BNP Paribas Foundation support. 26 27

Wed. 27th / Thu. 28th & Fri. 29th June 8:00 pm hTh / Grammont

Agora 20€ / Reduced 22€ / Full 28€

AURÉLIEN BORY Compagnie 111 aSH, pièce pour Shantala Shivalingappa CREATION Dancing in the Region

Design, scenography and stage production Aurélien Bory With Shantala Shivalingappa Artistic collaboration Taïcyr Fadel Light design Arno Veyrat Technical scenography design Pierre Dequivre Production : Compagnie 111 – Aurélien Bory Coproduction : Festival Montpellier Danse 2018, Théâtre National de Toulouse, Agora – PNAC Boulazac Nouvelle Aquitaine, La Scala-Paris. With the artistic participation of ENSATT. Rehearsals and residences : La nouvelle Digue (Toulouse), Théâtre National de Toulouse La compagnie 111 – Aurélien Bory is subsidised by the Ministère de la culture et de la communication - Direction Régionale des Affaires Culturelles d’Occitanie / Pyrénées- Méditerranée, the Région Occitanie / Pyrénées - Méditerranée and the Ville de Toulouse. It is supported by Conseil Départemental de la Haute-Garonne.

In Shantala Shivalingappa’s name we find Shiva, the Bausch, between India and Europe, between Shiva and lord of dance. According to the texts, Shiva has over Dionysus, who are said to be incarnations of the same one thousand names. He is the god of creation and deity, Shiva having lived on in Hindu mythology while destruction. Lord of cremation grounds, his body Dionysus, swept aside by monotheistic religions, was is covered with ash. Shantala Shivalingappa’s dance gradually forgotten in Europe, a wandering god, god revolves around the figure of this god, whose vibration of theatre. Shantala constantly travels back and forth gives rise to the rhythm of the world. between Madras where she was born, and Paris where I asked Shantala if she wanted to experience ash. aSH she lives. Her dance mirrors this perpetual swinging, is not merely the solid residue of perfect combustion: somewhere between Hindu mysticism and quantum it is a process. aSH is a fertiliser. It is part of a cycle of physics. death and birth. aSH therefore possesses the potentiality I pictured Shantala Shivalingappa dancing on ash for of life. Is this why it is sacred in India, why cremation aSH, the title of which is made up of the initials and last grounds have a particular energy, why life and death letters of her name. aSH is the final opus in the trilogy are but one and the same in the cycle of reincarnations? of portraits of women, ten years after it began in 2008 What does Shiva do? He destroys and he dances. with Questcequetudeviens? (What’s Become of You ?), I met Shantala Shivalingappa in 2008, in the corridors of followed by Plexus in 2012. In this trilogy, my starting the theatre, in Dusseldorf with Pina Bausch. It was the point is not space, which is my usual subject matter in last “Drei wochen mit Pina” festival. Shantala danced theater, but a woman, a person who has her own story. with Pina Bausch in Nefés, she also presented a solo, as This trilogy is about a living being unfolding through well as a duet with Sidi Larbi Cherkaoui. It was there dance. With aSH, Shantala Shivalingappa dances beyond that Shantala saw Plus ou moins l’infini. It was a time herself. In a set designed from ash and vibrations, she of strong convergence that seems almost unreal to me, incarnates Shiva who propels the world into manifesting considering that it brought together a number of elements and allows space to dance. which were going to be significant to my path and to Aurélien Bory that of Shantala’s. Something was going to die here and September 2017 something else was going to be reborn. Shantala’s dance is moulded by this journey between Kuchipudi and Pina 27

Aurélien Bory Aurélien Bory Aurélien Bory was born in 1972 in Colmar, France. His Physics studies at the at Montpellier Danse University of Strasbourg took him to work in the field of Architectural Acoustics. - In 1995, he got in the creation studio of the Lido, Centre des arts du cirque 2014 Azimut for the acrobatic in Toulouse. The artist Mladen Materic, whom he met at Théâtre Garonne, group from Tanger introduced him to the acting craft. From 1998 to 2000, Bory joined Materic’s theater group, Théâtre Tatoo, as an actor for the play L’ O d y s s é e . Intrigued by the question of space, his composite works that reflect a peculiar aesthetic are driven by sciences, and strongly rely on the scenography. Aurélien Bory begins with IJK (2000), Plan B (2003) and Plus ou moins l’infini (2005) cocreated with the New Yorker stage director Phil Soltanoff. These three performances aSH on tour constitute La Trilogie sur l’espace. In 2007, he creates Les Sept Planches de - la ruse with artists from the Dalian Opera, then Sans objet in 2009 with two 2019 acrobats and an industrial robot. He creates Géométrie de caoutchouc in 2011, a January 8th, 9th, Maison de la play for a big top. Nine years after Taoub (2004), the show at the origins of the Culture, Bourges, France Acrobatic Group of Tangier, he puts on Azimut about the spiritual background January 13th, Équinoxe scène of Moroccan acrobatics for Marseille-Provence 2013 - Capitale européenne nationale, Châteauroux, France de la culture. In 2008, Aurélien Bory undertakes a series of women’s portraits January 17th, Agora Pôle national starting with Questcequetudeviens? for the flamenco dancer Stéphanie Fuster des arts du cirque, Boulazac, and Plexus created for the Japanese dancer Kaori Ito. In October 2015, at Théâtre France st du Capitole in Toulouse, he realizes the scenography of two operas directed by February 16th to March 1 , La Tito Ceccherini: Bluebeard’s Castle by Béla Bartók and Il Prigioniero by Luigi Scala, Paris, France Dallapiccola. His questioning on space leads him to explore new scenes and to May 28th, 29th, Théâtre de Caen, invest new artistic areas such as architecture, urbanism or visual arts. Invited Caen, France by Le Voyage à Nantes for his summer edition of 2015, Aurelien Bory designs the plastic installation Spectacula. It is also in Nantes that he experiments an urbanistic creation Traverses, redesigning Léon Bureau’s boulevard inaugurated in July 2016 on the Île de Nantes. He creates his last piece, Espæce (2016), for the 70th edition of Festival d’Avignon. For October 2018, he will stage Orphée et Eurydice, in Opéra Comique – Paris. His reflection on space has been pursued with the artistic and architectural prefiguration of the former Théâtre de la Digue as a project to rethink a place for the performing arts. — Shantala Shivalingappa Born in Madras, India, brought up in Paris, Shantala grew up in a world filled with dance and music, initiated at a tender age by her mother, dancer Savitry Nair. Deeply moved and inspired by Master Vempati Chinna Satyam’s pure and graceful style, Shantala dedicated herself to Kuchipudi. Driven by a deep desire to bring Kuchipudi to the western audience, she tourred solo with her Indian musiciens. Since the age of 13, she worked with some of the greatest artists of our times : Maurice Béjart (1789…et nous), Peter Brook (for whom she played Miranda in The Tempest and Ophelia in Hamlet), Bartabas (Chimère), Pina Bausch (O Dido, Néfès, and Bamboo Blues), and Amagatsu (Ibuki). Passionate about human encounters and the artistic journey they trigger, she also revels in collaborating with various artists in the exploration of dance, music and theatre. Some of these collaborations are: Play (2010), a duet with dancer-choreographer Sidi Larbi Cherkaoui, Nineteen Mantras (2012), a modern opera inspired by hindu myths, directed by Giorgio Barberi Corsetti and for which Shantala created the choreography. In 2013, Shantala was awarded the prestigious «Bessie» dance award in New York City for her Kuchipudi solo «Shiva Ganga». 28 29 «DANCING IN THE REGION» Ethos, Logos, Pathos

By Emmanuel Négrier, Research Director at the CNRS, and Director of Political Science at CEPEL, University of Montpellier. Emmanuel Négrier © DR

Emmanuel Négrier is Research Director at the CNRS and Director of Political Science at CEPEL, University of Montpellier. He collaborated in the publication of «Politics in light of the emotions», Rennes University Press 2017, and “Hip-hop on stage: Artistic mutations and political innovations”, Harmattan 2018

When an issue affects our representations, our interests and our emotions, and this is the case of «Dance in the Region», we would do well to remember that the answer must always deploy a mixture of ethics, reason and emotion in order to make a convincing case. Let’s take a look at these items in turn as they concern provincial dance.

ETHOS

If you are familiar with the Occitanie region, not since its has been lacking for a long time, nor to a regional culture recent characterisation, but since the beginning of cultural with roots in history, or an Occitan character, particularly decentralization, you’ll know that nothing in its topography conducive to dance. To understand this unique landscape, it predestined it to become an area particularly conducive is better to refer to the will than to space, ethos or topography. to choreographers. The exaltation of the body, in its 37 exhibition spaces have organised dance programmes in Mediterranean sense, could certainly suggest a more marked Occitanie, including 27 in the former Languedoc-Roussillon relationship than elsewhere to dance, that of summers and region. This is testament to the growth, recent as it is, of celebration. But we know that artistic institutions - this is true this art form around certain locations and actors, including of dance as well as theatre, or music - are happier locating Montpellier Danse. It has flourished with an aesthetic their work in urban centres than in more rural regions, to diversity that echoes its history as a region of transit and wit Occitanie, in spite of its two metropoles, Montpellier exchange. Whereas the presence of flamenco recalls Spanish and Toulouse. France is home to 530 companies in all, and migrations, both economic and political, hip-hop very provides assistance to 280, including 70 (one quarter) in the quickly caught on not only as a socio-cultural activity, but Parisian region. In the Occitanie region we’ve taken a slightly as a choreographic discipline claiming full legitimacy on the more precise census, and found 145 creative and theatrical artistic landscape. Contemporary dance, however, continues organisations, of which 52 have sought assistance from the to account for the major share of activity, around 80%. And State, and 28 have obtained it. This makes it one of the most even further to all this, one cannot draw the conclusion that dynamic French regions in terms of the number of companies, promotion of dance in the provinces is a sinecure. even if somewhat less so than Paris. It ranks second in terms of the volume of assistance awarded to choreographic artists, and third for the number of companies receiving assistance. This dynamism is due neither to an urban network, which 29

«DANCING IN THE REGION» LOGOS Beneath these figures, we stumble upon a paradox with regards The presence of artistic groups in the provinces is a boon that Ethos, Logos, Pathos to the principles guiding support and recognition. While costs little, for reasons relating to the proximity of centres of local authorities contribute the most, far beyond the Ministry decision-making, the development of reputation, synergy / By Emmanuel Négrier, Research Director at the CNRS, and Director of Political Science at CEPEL, of Culture, towards financing cultural and artistic life, the cooperation between professionals. But it could be seen as University of Montpellier. draw of Paris as a target stage and sure road to a successful a resource, and relates to logos for three reasons. On the career, remains very strong. This reflects a particularly French one hand, some places have, in proportion to their size, dilemma where the provinces are considered as a secondary equivalent levels of resources which are less easily obtained alternative to Paris or, conversely, a smaller scale imitation. elsewhere: voluntary support, cooperation between actors The centralization of artistic allure and cultural resources in and their local populations. Better to be first here than the capital - whether deplored or celebrated - is most blatant second in Rome. And the regional fabric of Occitanie, as in the most conventional arenas, such as theatre and music; with Réseau en Scène for example, has acquired the means to in terms of performances, this much less true of street arts develop such support, without being limited to the borders of or the circus, for instance. Dance occupies an intermediate its region. Furthermore, the region can represent a challenge position. The distribution of institutional establishments to artistic endeavour that deviates from the expectations of a (choreographic centres, major festivals) is much more «milieu». This is the bold set of assumptions that prevails in concentrated in the provinces than in the Paris region, except the provinces. perhaps in the case of hip-hop.

PATHOS

In his book The Passion of Being Another, the anthropologist centres after Paris. It therefore has a responsibility to play a Pierre Legendre stated that dance was the «most animal leading role in the new Occitanie, so that this passion may form of what we call art». This pathos ensures that emotions, be better shared within and beyond Naurouze1. The second empathy and seduction generate a certain vision of what factor touches on the symbolic relationships of dance to dance in the provinces means. Still, one must not stray into space, its failures, its discontinuity, and its social circles, its deceptive territory. It is risky to base one’s art on a «regional hospitality. Dance is the metaphor of a fleeting common identity» that supposedly unites companies under a strictly ground. It uses gesture to «speak» about a region under Occitan banner. Certainly, we will find a little more urban construction, in a torn Mediterranean region, in a society dance in Auvergne-Rhône-Alpes and Ile-de-France; a few that rails against often unjust borders. The third perspective more bridges thrown between contemporary and traditional relates to another frontier, one familiar with theatrics; this dance in Brittany, and probably a neoclassical temptation fourth wall separates (or connects) choreographic art and the peculiar to the neighbouring region of Provence-Alpes-Côte- public, at a time when cultural rights have become, perhaps d’Azur. But never to the point of absolute predictability. The due to their dissolution, part of our set of natural rights. present tends to look wistfully at its identity. Hope, however, By cultural rights, we mean the openness to a variety of is found in identification. It is through identification that the channels of individual and collective advancement through region finds choreographic fulfilment, whereas the creative culture. And the audiences – as you’ll see in Montpellier - trajectories of individual artists are only rarely linear, and represent a social and generational multiplicity which itself most often discontinuous, made of exchanges, departures is a function of the dance styles in question, which are and reappearances. very contrasted. European cultural programs that promote Making the province the medium of a singular cultural the active participation of citizens in artistic creation or activity, defining a regional strategy, does not therefore decision-making often use choreography as leverage. It is not depend on a «provincial» creative imperative. The region a coincidence. There is a democratic principle inherent in does not set dance apart, but rather dance helps create a dance that regional democracy cannot ignore. region’s identity. Three factors help us to explain the success of dance in Occitanie. The first is a clever sharing of assets. In the two former regions, that still cling to a mutual grudge, these assets are more marked in one than the other, depending on the discipline. In dance, Languedoc is the clear leader. It benefits from its history, political as much as artistic, which produced, with Montpellier Danse and the National Choreographic Centre, one of the two major choreographic 1. Naurouze is a town on the Canal du Midi, which divides the waters of the Atlantic and the Mediterranean. «DANCING IN THE REGION» The provincial artist… does such a thing exist?

Replies from artists participating in the Montpellier Danse Festival 2018, and who are established in the Occitanie region

KADER BELARBI

The association of the word «artist» and the word «province» place. Certainly, an artist belongs to a region because he/she seems incongruous to me. It strikes me as a question you lives there and works there, but it is what the artist does that is should ask people who feel the need to join these two words most important. His or her work, as interactive and localized together to designate a wine’s region. I am troubled by such as it might be, carries within it many mixed provenances. a precise characterisation – it may be useful for some but it nonetheless remains restrictive. The regional context may be related to art because an artist in the region develops links with supporters and partners but the artist is not defined by a

AURÉLIEN BORY

I do not like this expression, it does not refer to anything up paths – people who stumble on dead ends in his place, tangible. An artist is not determined in relation to a defined try this or that direction, fail, try again, fail better. In a rich territory. The path of creation always veers towards the and challenging context, an artist has better odds of emerging unknown. An artist always seeks to escape, this way or that into open ground. Regions and provinces that aim to attract way. On the other hand, an artist certainly emerges from artists must first put in the work of tending their garden so as a particular context. And it seems to me that this context, to favour creation. which is in fact a journey, extends its geography far beyond the concept of territories. The people you meet are more important than the places you visit. In order for an artist to fully grow, he needs a pool of people around him to open

CAMILLE DECOURTYE & BLAÏ MATEU TRIAS

Our company is Franco-Catalan. Our two cultures add to the creation but this does not in itself produce creation, it falls to identity of the company, as does that of each member. For us, the artist to explore his art and to create work. the creative space is a place where culture and the interior life are united. We always try to get closer to ourselves to find what can become universal. The politics of a region may encourage MATHIEU DESSEIGNE-RAVEL

I probably don’t have the knowledge to answer that question Avignon Festival. But I do not think it created my relationship really. The fact that I’m from Avignon, that I live in the to art. I’m not even sure if my sense of place was formed in Provence-Alpes-Côte d’Azur region, has had an influence Avignon or elsewhere. on my career and in the particular relationship I have with the people and the place. Avignon is the city of the Avignon Festival. It conditions my relationship to cultural phenomena in general. Avignon can’t be understood without considering the cultural parameter. Avignon is a complex and violent city, hard in some ways, not least because it hosts this event. Culture in Avignon is culture seen through the lens of the

SYLVAIN HUC

I think provincial art exists but not in the literal sense of a people. The performance space effectively rotates around my regional identity. Identity is for me the worst of all traps! For body, but at the same time I am unable to contemplate my me, being a provincial artist is to invent practices within a body alone if it is not related to others. In the company studio region. But to invent practices within an area, I need to leave we have a lot of people in residence and that’s how I met some it, I need to go nourish myself elsewhere. I have never been of the companions with whom I work today. I think there a regionalist, I have never claimed an identity. I am a native has always been that aspect to my career, this desire to come of the Lot department. I’ve lived in Toulouse for twenty years face to face with others. All alone I can’t achieve much. In any but the company is based in the Lot. It doesn’t make sense case, I don’t have what it takes to go at it alone. So - a regional to me that I am Lotois or in any case I do not take pride in artist? Yes, but that only makes sense if I can stop being that coming from the Midi-Pyrénées. What is important to me is person when I want, if I can come and go. that I decided to work in this area and I have things I want to make there. Yes, there are regional artists and what makes them regional artists is their work. To come back to this idea of inventing practices - it’s not so much a question of working in the region, but of inventing things in isolation, and managing to connect with other regions, other people. For my solo piece, Lex, I decided to collaborate with a lot of

MAGALI MILIAN & ROMUALD LUYDLIN

We have settled in this region, so we live here and have Of course the company physically works within the region, developed a body of work with faithful partners, a kind of it is the space we have chosen, but does that physical space base camp, and if we are defined by a region, it is a region of really define us in any meaningful way? encounters and human relationships. In one of our projects we travelled across Europe from Dance company to another. Out of that we plotted a new map, a new region. Our region, our field of action is not delimited by administrative boundaries.

MICHÈLE MURRAY

No, I think that in reference to art this term does not some ways in my thinking, but it is only one aspect say anything meaningful, and for me, provincial of the work. My questions are artistic, societal and art does not exist. Talking about a provincial artist aesthetic, and for that, meetings, exchanges and is inappropriate, both for those so called and for inspirations can be found everywhere, here and the region that nurtures them. elsewhere. On the other hand, an artist might be The artist - like everyone else - draws consciously based in a region and supported by this region, or unconsciously from his roots and history, but but that bears no relation to the term «provincial this is only part of his self-discovery, which also artist». For me, the PLAY structure is based in the consists of his life’s journey and encounters. This Occitanie region, and the exchanges, the partners, discovery is connected to something much larger. the various forms of assistance enable my work As for me, I am of French-American origin, I grew and support me, without a doubt. up in Germany, I trained in the United States, I live in France, I work in Europe, I am trilingual. This question of languages and origins is reflected in

FABRICE RAMALINGOM

I do not know what a «provincial artist» is. What have chosen to live outside Paris to work in a is terrible about this term «provincial artist» is that certain region, I myself have made the choice to it frames one’s work, it closes one in. We know live away from the capital and to work outside the that artists are not under house arrest. We move centre. I believe that I can do better work there, I about. What’s more, this old but still widespread can build a relationship with the local population and tiring opposition persists: Paris versus the to share my taste for dance, to share its appeal. That Provinces. Despite my best efforts to rise above, for me is extremely important. For our art. For the or simply sidestep it, you can’t escape the reality dance to continue to exist, not just for my region or and you have to form a position in response. We all my environment. Admittedly, it takes a lot of time, have this expression in our heads: «Paris is where but that does not stop me from going elsewhere, it’s at», that we’ve heard so many times and that from working elsewhere. From going to Canada, stubbornly remains. We try to negotiate with this Montreal and Vancouver, where I created and attitude, or even escape it altogether. By definition, presented my pieces and have strong links. Going this expression implies that nothing happens in to Brazil, where I had the opportunity to develop the provinces, or not much, or if something does a host of exchanges by holding conferences, happen, it will have to happen in Paris first to be workshops and by performing several of my pieces recognized as valid. Paris remains the obligatory over five years in several regions of the country. I milestone, it dominates, it occupies the centre. have also worked in Vienna, Brussels and Berlin. I Even after a host of decentralization policies since went to Paris a few times to present my work, but the 1980s, I believe there is still much work to be a lot less than I’ve visit the other side of the planet. done before people realize that a very large part No man is a prophet in his own country. of what is happening in Paris has been created I do not know what is meant by «provincial artist», elsewhere, in the provinces, for example. I think but I’m content to dwell outside the centre, to create Paris’ role as a national showcase benefits from and work there because I know that my advocacy all the work done in the region. So, when will this of dance has more impact here. On the other hand, opposition of Paris against the Provinces end? on a personal level, I chose to live in the regions for When will the two poles find a balance? a better quality of life, a better relationship with Yes, the label of «regional artist» exists and I often time, work, others and the world. And here I can feel that it carries with it a negative connotation. It find a rhythm other than the one given to me by obviously implies that if we are not at the centre, others. This choice of life is political. we are on the fringes, that if we are not present at the centre, we are absent, even that we don’t exist (or no longer exist) and if the artist is not visible at the centre, it is assumed that the artist is static, shut up in his provincial home. Like many artists working in the provinces who 34 35

Thu. 28th 8:00 pm & Fri. 29th June 6:00 pm Théâtre la Vignette

Agora 15€ / Reduced 18€ / Full 22€ BARO D’EVEL Camille Decourtye et Blaï Mateu Trias Là Piece in black and white for two humans and a raven-magpie First part of the dyptich Là, sur la falaise

CREATION Dancing in the Region

Creators and performers Camille Decourtye, Blaï Mateu Trias et le corbeau pie Gus Collaborators Maria Muñoz, Pep Ramis / Mal Pelo et Barbara Métais-Chastanier Scenography Lluc Castells assisted by Mercè Lucchetti/ Sound design Fanny Thollot Light design Adèle Grépinet / Costume design Céline Sathal Construction Jaume Grau, Pere Camp Stage manager Thomas Dupeyron / Technical director Flavien Renaudon / Sound director Brice Martin Production - distribution Laurent Ballay, Marie Bataillon Production : Baro d’evel Coproduction : Festival Montpellier Danse 2018, GREC 2018 festival de Barcelona et Teatre Lliure à Barcelone, Théâtre Garonne, scène européenne, Espace Malraux, scène nationale de Chambéry, Pronomade(s) en Haute-Garonne, CNAR, L’Archipel, scène nationale de Perpignan, CIRCa, pôle national cirque, Auch Gers Occitanie, le Prato, théâtre international de quartier, pôle national cirque de Lille The project benefits from the cross-border cooperation project PYRENART, from the program Interreg V-A Espagne-France-Andorre POCTEFA 2014-2020 - Fonds Européen de Développement Régional (FEDER) With the assistance of the MC93, scène nationale de Seine-Saint-Denis à Bobigny and Animal a l’esquena à Celrà. With the support for creation from DGCA, Ministère de la culture et de la communication and from Conseil départemental de la Haute-Garonne. The company is supported by the Ministère de la culture et de la communication - Direction Régionale des Affaires Culturelles d’Occitanie / Pyrénées-Méditerranée et la Région Occitanie / Pyrénées – Méditerranée.

The way to research : one research, two creations. The first creation, Là, will be the first research cauldron. This project develops three main lines of research: black The project aims to dare to strip our souls, aided by and white, for processing materials and moulding spaces; proposals both strong and simple around the voice and balance and imbalance, to consider the works of body the body. and voice; finally, exposure and evolving performances The second, La Falaise, incorporates this material in the alongside animals. midst of a group of humans and animals in a unique These research subjects are to be mustered to give birth scenography. to two shows, two forms, both emerging from the same Humans and animals still perform together on these impetus. To search through repetitions, to make and projects, developing the unique dramaturgy of Baro remake with a ferocity flair, to obsess, to enjoy getting d’evel, where a narrow writing teases the spontaneity lost in new sound and body textures, always surrounded imposed to the actors by the animals. Thus, each by our partners, birds, horses, trying to displace our worked discipline, each individual selected (human or take on our condition. To crave for a kind of trance, in animal), come to overlap and give way to a carefully an attempt to resist a world where man is dissociated balanced dramatic structure, where closed writing and from the rest of the living. To dive into our intimate improvisation interact. individualities, to better connect to each other. The game between black and white must hinder subtle The play Là features a bird, a black and white bird, the tilts between balance and imbalance, the choice of black master of ceremony, conductor of the here and now. The and white is the choice of cleansing, but also the hope crow as an intermediary between a parallel world of for a mutual contagion of these two colours, to show the fears and beliefs and a very real, playful world made of impossibilities of Manichaeism, to prove that everything sensations and relationships. is connected, everything is intertwined, everything The bird will be free on stage. As an actor, an object moves, everything changes. manipulator and a singer, it will be the starting point 35 of a study case where improvisation will be the key to the construction of the Baro d’evel background; its gestures, its temperament, its language: do humans understand Gus? Is Gus talking to the humans? Should it be subtitled? à Montpellier Danse - 2012 Mazút — Camille Decourtye She grows up in the world of horses and studies music at the academy. She trains as an aerial acrobat at the banquine and the teeter board in national schools (ENCR at Rosny-sous-Bois then CNAC at Châlons-en-Champagne). Meanwhile Là en tournée she develops a work on the voice. In 2001 with Blaï Mateu Trias, she founds the - company Baro d’evel cirk, project born from a collective. In 2004 she decides 2018 to integrate the horse in the projects of the company. She then develops a work July 8th to 10th, Grec Festival, on freedom and communication through the body by searching for the acting Barcelona, Spain and the pushing forward of the singularity of each horse. After the experience September 27th to October 14th, of the collective with Porque no? et Bechtout’ she directs the project Petit cirque Teatre Lliure, Barcelona, Spain au marché. Since 2006, she has been at the head of the company with Blaï Mateu October, Festival CIRCa, Auch, Trias and has conceived the shows Le Sort du dedans, Mazùt et Bestias. France October 27th, Festival Bad, Bilbao, Blaï Mateu Trias Spain Born in Barcelona, he grows up in a family immersed in the catalan post-Franco November 1st to 3rd, L’Archipel, artistic trends. With the company Tortell Poltrona, he takes part in the first scène nationale, Perpignan, France expeditions of Clowns without borders. He trains in the circus arts in France (National school for the circus arts of Chatellerault, ENCR of Rosny-sous-Bois, 2019 CNAC in Châlons-en-Champagne) where he works with Heddy Maalem, Beñat May 20th, 21th, Le Parvis, scène Achiary, Philippe Decouflé… He starts a solo experience in 2006 with Ï in which nationale, Ibos, France he questions circus in its form and confronts it to a historic and dramatic subject. May 24th, 25th, L’Estive, scène nationale, Foix, France

With the support of FONDOC, supporting fund for contemporary creation in Occitanie 36 37

Thu. 28th / Fri. 29th & Sat. 30th June 10:00 pm Théâtre de l’Agora

Agora 25€ / Reduced 28€ / Full 35€ BATSHEVA DANCE COMPANY Led by Ohad Naharin MARLENE MONTEIRO FREITAS Canine Jaunâtre 3 CREATION

Choreography Marlene Monteiro Freitas With 18 dancers Etay Axelrod, Billy Barry, Yael Ben Ezer, Matan Cohen, Ben Green, Hsin-Yi Hsiang, Chunwoong Kim, Rani Lebzelter, Hugo Marmelada, Eri Nakamura, Nitzan Ressler, Yoni (Yonatan) Simon, Kyle Scheurich, Maayan Sheinfeld, Amalia Smith, Imre Van Opstal, Zina (Natalia) Zinchenko, Erez Zohar Assistant Andreas Merk / Space and light Yannick Fouassier / Research Marlene Monteiro Freitas, João Francisco Figueira Production : Batsheva Dance Company Coproduction : Festival Montpellier Danse 2018, Julidans Festival Amsterdam Thanks : P.OR.K – Bruna Antonelli, Sandra Azevedo; Key Performance – Koen Vanhove

One of the strongest aspects of Marlene Monteiro Freitas’s work together. is what she succeeds to bring out of her dancers. The title Canine jaunâtre 3 is very interesting. The I think Batsheva’s dancers will learn a lot about image of a yellow tooth is intriguing, as is the precision their performing, creative and physical skills. of the number, «3». What does it mean? Ohad Naharin There are two ideas in Canine jaunâtre 3: it evokes an object that is strong and beautiful, and equally something that is sick and dirty. It’s a title that unites Interview the notions of life drive and death drive, like a death with Marlène Monteiro Freitas sentence that does not come about one way or the other. by Montpellier Danse, February 2018 It’s like a beautiful smile with an unattractive tooth, it’s a combination of complementary but contradictory ideas. This is the first time you have choreographed for an The 3 came afterward. It seemed to me that something outside company. Batsheva has a quality of movement was missing. Something like a number. The number that is very far removed from yours. How did this 3 seemed most fitting. It’s also my sister’s favourite project come about? number, and she’s gives me feedback on all my titles. I presented D’ivoire et de chair in Jerusalem in 2016 and The title is to be understood as a doorway and not as a Ohad Naharin attended the show. He invited me to see conclusive summary of the work. Project 5 the next day. It was the first time I saw Batsheva. I attended the The game of Lego plays a role in this piece. Should performance thinking that it might be possible to work dancers imagine the set according to certain rules? Or on something with them. I then went to Tel Aviv for a is it the idea that the set is built and taken apart, and residency after which I wrote this sentence: «where the rebuilt once more? heart beats, is not where the heart parks». This sentence Lego evokes both play and construction. I am still sums up the significance of this meeting. At Batsheva, in the early stages of developing the piece, but the I recognized the extension of the physical capacity of principle of design is both that of a building site and the body, beyond its ordinary structure, its functions, a playground. There is something very childish in this its gender... It seems to me that the dancers have a great kind of approach, start a game with rules and then reject capacity for work, concentration, and especially for them or change them according to the direction the desire. I do not consider a project in terms of distance game takes. The pleasure is in building to immediately or proximity to my world, both can kindle my curiosity take apart, to build for the sake of building, not with the and both intermingle. It’s about building a language and intention of making a permanent structure. The general a community that brings fundamentally different people idea guides me in the process of creation and may be 37 developed when the piece is performed. The concept also relates to the small La Batsheva Dance body of the Lego characters with their individual limbs that bring precision to the mechanics of movement. I also have the Wild West and the frontier in mind... Company at Montpellier Danse Are you going to colour the movement of these dancers with a metamorphosis - of their bodies, as you have before? with Ohad Naharin Metamorphosis is indeed always very present in my work and all the more so 1992 Kyr, Arbos when it relates to evolving in a new context. However, if I am going to introduce 1994 Anaphase, Dancing Party the basic principles with which I usually work, I want to be able to listen, 2000 Sabotage Baby understand and feel their desire. I don’t particularly want to change them as such, 2004 Naharin’s Virus I’m looking to create an encounter. I would like metamorphosis to be a guiding 2006 Three, Mamootot principle of the creative process, but also a guiding principle of this encounter. 2010 Hora, Minus 16 2011 Project 5 Does this metamorphosis reflect the Cape Verdean culture in which you 2013 Sadeh21 grew up? 2015 Last Work My interest in physical deformation probably comes from the many carnivals I attended in my youth. I was fascinated by those grotesque figures, by the idea of with Sharon Eyal going out into the street to disrupt the order and parameters of the beautiful and 2006 Bertolina the ugly. Behind the carnivalesque dimension to my pieces, there is certainly a desire to overstep the limits of the aesthetically correct, to try something else. Also, in Cape Verde, music and singing are less about transmitting ideas or messages and more about the feelings and emotions expressed on people’s faces. Marlene Monteiro Freitas It’s the same in my dance. at Montpellier Danse - — 2013 (M)IMOSA with François Chaignaud, Cécilia Bengolea and Batsheva Dance Company Trajall Harell Batsheva Dance Company was founded as a repertory company in 1964 by 2014 de marfim e carne – as the Baroness Batsheva de Rothschild who enlisted Martha Graham as its first estátuas também sofrem artistic adviser. Since 1989, Batsheva Dance Company has been in residence 2016 Jaguar at the Suzanne Dellal Centre in Tel Aviv. Ohad Naharin assumed the role of 2016 Paraíso – colecçao privada Artistic Director in 1990 and welcomed several choreographers such as Mats Ek, 2017 Bacchantes, Prélude pour une Angelin Preljocaj or William Forsythe. With the Junior Batsheva Ensemble, there purge is more than forty dancers coming from Israel and around the world. Naharin is also the originator of the innovative movement language, Gaga, originated from the belief in the healing, dynamic, ever-changing power of movement. Gaga provides a framework for discovering and strengthening the body including Canine Jaunâtre 3 on coordination and efficiency while stimulating the senses and imagination. In tour September 2018, Ohad Naharin will transfer the artistic direction to Gili Navot, - dancer at the Batsheva and Gaga teacher for many years. Ohad Naharin will 2018 stay as house choreographer at the Batsheva and will dedicate his work to Gaga July 3rd, 4th, Festival Julidans, research and creation. Amsterdam, Netherlands July 11th au 20th, Suzanne Dellal Marlene Monteiro Freitas Center, Tel Aviv, Israël Marlene Monteiro Freitas was born in Cabo Verde where she was co-founder and member of the dance group Compass. She studied at P.A.R.T.S. (Brussels), at E.S.D. and at Fundação Calouste Gulbenkian (Lisbon). Her creations include: Primeira Impressão (2005), the solo Guintche (2010), (M)imosa, co-created with Trajal Harrell, François Chaignaud and Cecilia Bengolea (2011), Paraìso, colecçao privada (2012) and Bacchantes - Prelude to a Purge (2017).

Performance organsised for the 2018 France-Israël Season 38 39

Sat. 30th June & Sun. 1st July 6:00 pm Studio Bagouet / Agora

Agora 15€ / Reduced 18€ / Full 22€ PAULA PI No Drama Alexandre CREATION

Concept and choreography Paula Pi / Creation and performance Sorour Darabi and Paula Pi Dramaturgy Gilles Amalvi / Space and lights Florian Leduc Costumes Rachel Garcia / Sound Neo Huelcker Artistic adviser Pauline Le Boulba Support and somatic practices Violeta Salvatierra Production : No drama Coproduction : Festival Montpellier Danse 2018, Rencontres chorégraphiques internationales de Seine-Saint-Denis, CN D Centre national de la danse, Centre chorégraphique national de Caen en Normandie dans le cadre de l’accueil-studio, CCNO Centre chorégraphique national d’Orléans dans le cadre de l’accueil studio 2018 , La Maison CDCN - Uzès Gard Occitanie, La Place de la Danse - CDCN Toulouse-Occitanie, Le Vivat Armentières, Charleroi Danse With the support of Arcadi With the support of PACT Zollverein, Montévidéo, les Laboratoires d’Aubervilliers.

Interview This relationship to language is also explored in the with Paula Pi performance. How is language embodied? What by Montpellier Danse, January 2018 happens to us when otherness is expressed vocally? We try to work with a pre- (or post-?) language, in an attempt to escape expression and remain rooted in what Can you tell us about the recording that led to your is suggested through the breath, rhythm or rupture Alexandre project? caused by vowels and consonants. It also comes from a First and foremost, I want to say that this project is a desire to translate this source in a sensitive, emotional, duet that investigates binary space: between two bodies personal way, without having to reveal it, to explain it or but also between two cultures, two languages, two, to analyse it. or multiple, genders. This brings up the question of otherness. Here, otherness is represented by a recording that a friend played for me in 2011: a man spoke in a You emphasise the rhythm of this recording. Do you language foreign to me and I understood only one approach it in a musical way? word, «Alexandre». Everything else was mysterious. Sorour Darabi and I share a relationship to music that And intuitive. How can you create a space in which comes from our playing the violin. My first approach this dimension of mystery exists? How do you bring to this recording was indeed musical. When learning a people to a place without having to explain it? The foreign language, I first and foremost learn with sound. voice in question belongs to an Indian Xavante, an I listen, I absorb the musicality. I have a penchant for ethnic group from central Brazil, and speaks about a pronunciation, and even if I do not understand the male initiation ritual without describing what it is. This meaning, I need above all to feel the language in my mystery is part of many Amerindian cultures. Later, mouth. As for the recording that led to Alexandre, I had an opportunity to go to the village where the what interests me most is its rhythm. It’s a word that recording was made, I met the voice, I was able to put reminds me of how percussion instruments are taught physical form to the sounds. On this occasion, my need in Indian music. Before sitting down to play, the student to understand everything was very strong. Why does works with the mouth, mastering the vocalization of our Western culture need to understand everything and rhythms. At the beginning of the process of creation, explain everything? Faced with this foreign language, it was a source of inspiration, in relation to the cyclical it was a real exercise in restraint to keep quiet and to organization of time found in Amerindian cultures: the listen without understanding, to accept ignorance. temporality of rituals, the relationship to the seasons, 39 the transmission between generations, finally, a whole system which, starting with repetition, is in perpetual reinvention. We think about how to disrupt the perception of time in the piece, how to break linear thinking and, albeit within a definite time frame, blur the notions of beginning and end.

Why work with Sorour Darabi? We attended at the same time the master in choreography exerce in Montpellier, but during that time we never really worked together. There was this intuitive realisation that there was a connection between us. There is a great closeness, contact, and a fraternal relationship. I could not do this piece with anyone else. I admire his work, which addresses questions similar to my own, the non-duality of gender, the relationship to the word and how this word is embodied. In the studio, differences appear also; we do our best work closely, to meet one another - but an otherness creeps in too. It is an encounter between Sorour and Paula, and what happens when these two bodies interact, that weaves the fabric of the piece.

In ECCE (H)OMO, you work on the dances of Dore Hoyer, which are totally unknown to the choreographic milieu, for the most part. Is this a sign of your particular desire to bring little-known artists to the stage, as if to redress a kind of unjust lack of recognition? Regarding Dore Hoyer, it’s true that there was a desire to promote this artist who lived at a time when there was no place for her work. That said, it was not my purposeful intention, my interest came from things that challenged me and the desire to embrace this body of work, as with Alexandre. But it was more like love at first sight, the feeling of being beckoned by the work than a desire to promote it. In both cases, it took a long time. I heard the recording of Alexandre in 2011 and it’s been influencing me ever since. Each time I listen, it produces some unconscious response. I feel that my desire to work with subjects that are foreign to me has at its heart something resembling identification, empathy, and a desire to depart, to not to remain locked in the repetition of the self, my preferences and my habits in terms of movement and dynamics. An effort to embody the dances or language of someone else implies a desire to transform my body and its manner of motion, its way of being in the world. Today, my way of moving is inhabited by the body and the dances of Dore Hoyer. In the case of Alexandre, it is the Xavante language that comes to offer me alternate horizons: is it possible, using a foreign language, to manufacture other bodies? Utopia may lie there. — Paula Pi Paula Pi is a brazilian choreographer based in France since 2013. She first studied music, theater and butoh before encountering contemporary dance. Since 2010, she develops her own choreographic projects. She produced and directed the five editions of Free to Fall Sao Paulo, a scratch night project, and worked as a professional musician for more than ten years before moving to France to attend the masters in choreography « exerce » at the CCN of Montpellier (2013-2015). She has performed for Holly Cavrell, Eszter Salamon, Latifa Laabissi/Nadia Lauro and Aude Lachaise among others. In 2015, Paula Pi joined the team of Scènes du Geste directed by Christophe Wavelet and in 2017 she presented her first dance production in France, the solo ECCE (H)OMO, echoing the dances of the German choreographer Dore Hoyer.

Performance created in working residence at the Agora, cité internationale de la danse with BNP Paribas Foundation support.

With the support of FONDOC, supporting fund for contemporary creation in Occitanie 40 41

Sat. 30th June & Sun. 1st July 8:00 pm Opéra Berlioz / Le Corum

Agora 1st cat. 28€ / 2nd cat. 22€ / Reduced 1st cat. 32€ / 2nd cat. 26€ Full 1st cat. 40€ / 2nd cat. 32€ / 3rd cat. 16€ / 4th cat. 10€ COMPAÑIA NACIONAL DE DANZA Led by José Carlos Martinez Une soirée avec Forsythe The Vertiginous Thrill of Exactitude / Artifact Suite / Enemy in the Figure

The Vertiginous Thrill of Exactitude Artifact Suite Enemy in the Figure

Choreography William Forsythe Choreography William Forsythe Choreography William Forsythe Music Franz Schubert Music : Part I J.S. Bach : Chaconne from Partita Nr.2 BWV Music Thom Willems Set Stephen Galloway 1004 in D-Minor, Scenography, light and costume Coach Noah Gelber interpreted by Nathan Milstein // Part II Eva Crossman-Hecht, William Forsythe Light and scenography interpreted by Margot Kazimirska. With 11 dancers William Forsythe Set, light, costumes William Forsythe Production : Compañia Nacional de Danza de España With 5 dancers Stage production Agnes Noltenius World premiere by the Frankfurt Ballet on 13th May 1989 Production : Compañia Nacional de Danza de España Maurice Causey at the Frankfurt Opera (Germany) World premiere by the Frankfurt Ballet on 20th January With 45 dancers Premiere by the Compañia Nacional de Danza de España 1996, Operahouse Frankfurt, Frankfurt (Germany) Production : Compañia Nacional de Danza de España on 18th May 2001 at the Teatro Real de Madrid (Spain) Premiere by the Compañia Nacional de Danza de World premiere : 15th September 2004, Scottish National España, on 4th March 2016, at the Gran Teatro del Liceu Ballet, Theater Royal, Glasgow in Barcelona (Spain). Premiere by the Compañia Nacional de Danza de España on 22nd April 2017, at the Palacio de Festivales de Cantabria, Santander (Spain)

The Vertiginous Thrill of Exactitude the protocols and principles of classical ballet into a Set to the final movement of Schubert’s 9th Symphony, mesmerizing theatrical event. The Vertiginous Thrill of Exactitude uses the entire It opens with a glorious double pas de deux, framed by arsenal of classical ballet repertoire: the tutu, pointe 30 corps de ballet dancers, set to the Chaconne from shoes, virtuosity and lyricism, and a friendly relationship Bach’s Partita No. 2 for solo violin in D minor. Surging between dancers of the opposite sex. unexpectedly from the symmetrical sleek-bodied rows Thispas de cinq is an astounding demonstration of pure of dancers lining the sides and back of the stage, two classical technique as used by Forsythe as a starting couples perform simultaneous dances of breathtaking point for choreographic possibility – distilled to its most beauty, full of off-balance extensions and unexpected brilliant and flawless form. shifts of weight. These dramatic pas de deux gloriously It is an affectionate homage to both Petipa and elaborate and extend ballet’s formal positions and Balanchine, in its codes, its compositional structures planes; but these traditions—and our expectations—are (solos inserted amid various pas de deux, pas de trois and abruptly subverted as the curtain crashes down heavily ensemble work), its precise, striking allegro work. The in mid-sequence, only to rise again upon a renewed Vertiginous Thrill of Exactitude is also a clear celebration vision of loveliness. of the dancer and his or her ability to transform technical The second section of Artifact Suite is set to a piano difficulty into mastery, the incarnation of a tradition in score by Eva Crossman-Hecht, and its repetitive, urgent dance. lines of sound underscore the image of the corps de ballet as a complex, almost martial machine, with Artifact Suite ballet as its precision tool. It offers a demonstration of Artifact Suite, a condensed, pure-dance version of spectacle and tradition—the visual power of a uniform William Forsythe’s full-length ballet, Artifact was first ensemble, principal dancers, powerfully moving music, presented on 15 September 2005 by the Scottish Ballet. a proscenium frame— even as it questions and changes Taken from three sections—parts 1, 2 and 3—of the their usage, and our ideas of what ballet can be. original 1984 ballet, the work has subsequently taken Roslyn Sulcas on a life of its own as an abstract work that distills New York Times 41

Enemy in the Figure William Forsythe Making use of an undulating screen positioned diagonally across the stage, a rope that is pulsed across the floor as if indicating energy levels or secret messages, a at Montpellier Danse - floodlight on wheels that is manipulated by the dancers, and a ticking, brooding 1988 In the middle, somewhat score by Thom Willems, Enemy in the Figure is a dark and thrilling poem elevated, Same old Story, Artifact about vision and perception, form and chaos. Light - as integral here to the III, Bongo Bongo Nageela, France / choreography as the steps - filters across the stage in uneven and transient shafts, Dance, Steptext, Love Songs exploding and contracting the space, bathing the dancers in a concentrated glare 1992 Limb’s Theorem, Ennemy in or obscuring them with deepening shadows that intensify the ephemeral beauty the figure of the movement. Donning garments of layered fringes over their black or white 1995 The loss of small detail leotards, the dancers burst out of and disappear into the darkness like eruptions 2000 Workwithinwork, Quartette from the unconscious, their bodies appearing as polyphonous instruments that 2005 Kammer / Kammer can generate movement from any point. Ballet-trained limbs mutate into angled, 2006 Impressing the Czar by the disjointed shapes, inscribing convulsive geometries as they spin against their Royal Ballet of Flanders kinetic shadows, or generate endless chains of movement on a suddenly empty 2008 Heterotopia stage, the light bleached and even, the music a low, rhythmic, repetitive melody. 2010 Installations - City of Absract - In a universe alternately frenetic and calm, Enemy in the Figure presents a non- White Bouncy Castle narrative of mystery and urgency, isolation and connection, the mechanical and 2011 Artifact by the Royal Ballet of the human: dance as a medium for infinite possibilities. Flanders Roslyn Sulcas 2012 Yes, we can’t New York Times — Compañia Nacional de Danza Since 2011, Compañía Nacional de Danza (CND) is under the artistic direction of José Carlos Martínez, Principal Dancer from the Paris Opera Ballet. José Carlos Martínez’s project for the Compañía Nacional de Danza is to promote dance and to make this art form better known. His repertory is wide, ranging from classical and neoclassical ballet to modern choreographic language, within a setting of full artistic and creational freedom. It embraces both new Spanish and international creations, drawing in new audiences and boosting the company’s national and international projection. William Forsythe Raised in New York and initially trained in Florida with Nolan Dingman and Christa Long, Forsythe danced with the Joffrey Ballet and later the Stuttgart Ballet, where he was appointed Resident Choreographer in 1976. Over the next seven years, he created new works for the Stuttgart ensemble and ballet companies. ln 1984, he began a 20-year tenure as director of the Ballet Frankfurt. After the closure of the Ballet Frankfurt in 2004, Forsythe established a new ensemble, The Forsythe Company, in which he produces Three Atmospheric Studies (2005), Heterotopia (2006) and Sider (2011) among other pieces. Forsythe’s most recent works are developed and performed exclusively by The Forsythe Company, while his earlier pieces are prominently featured in the repertoire of major ballet company such as the Mariinsky Ballet, the New York City Ballet or the Paris Opera Ballet. He also has been commissioned to produce installations and performances. ln collaboration with media specialists and educators, Forsythe has developed new approaches to dance documentation, research, and education in the dance field. His 1994 computer application ‘Improvisation Technologies : A Tool for the Analytical Dance Eye’ is used as a teaching tool. Synchronous Objects, a digital online score (2009) reveals the organizational principles of the choreography and demonstrates their possible application within other disciplines. 42 43

Mon. 02nd & Tue. 03rd July 7:30 pm hTh / Grammont

Agora 20€ / Reduced 22€ / Full 28€ BALLET DU CAPITOLE Led by Kader Belarbi Roy Assaf / Yasmeen Godder / Hillel Kogan CREATIONS Dancing in the Region

Production : Ballet du Capitole Coproduction : Festival Montpellier Danse 2018, Théâtre Garonne - scène européenne - Toulouse

Interview are mostly classical and neoclassical. Here, the choice with Kader Belarbi is more centred on the contemporary aesthetics of by Montpellier Danse, February 2018 dance... I don’t use a programme to project an image. Since I began my directorship of the Ballet du Capitole, I’ve Why did you choose to have these three choreographers worked with dancers to form an open mind and body share a program? in order to encourage a variety of aesthetics. It is true The official France-Israel 2018 season allowed us to that we practice with and use an academic vocabulary design this program. Thanks to Jacky Ohayon, director of dance as the guiding principle. As director, I initiate of Théâtre Garonne, who is a faithful partner of the choreographic encounters that go beyond simple labels. Ballet du Capitole, and Jean-Paul Montanari, director Jacopo Godani, Inbal Pinto, Jiří Kylián, Catherine of Montpellier Danse, who joined us, we managed Berbessou, Maguy Marin, William Forsythe, Johan to complete this project. We thought about creating a Inger and Stijn Celis to name a few have visited our program of work by Israeli choreographers. We were institute. There is no posturing, and nothing is off the forced to choose between very different personalities table, there is only the desire for a living, current ballet. and quite unique choreographic pieces. Three of them were selected and we had a series of informal How would you define the dance found in Tel Aviv? exchanges, allowing us to form an idea of the style and I don’t feel qualified to characterise the dance you find in preoccupations of these three choreographers. Tel Aviv. I find that, overall, Israeli dance is effervescent, imaginative and ironic. A dance that I feel is vital - after What do you like about the work and the style of all it exists within a context of ongoing war. A dance of Yasmeen Godder, Roy Assaf and Hillel Kogan? what we are and not what we do, which acts as a living Hillel Kogan offers an independent and engaged and relevant mirror of society. worldview. He is planning to create a piece with three pairs of dancers. Yasmeen Godder’s corporal approach is often feminine and places the dancer in vivid and furious physical states reminiscent of performance. — She is developing a solo piece for a ballet dancer. Roy Assaf has received praised for his sincere choreography full of «physicality» and human fragility. He will lead a larger ensemble of at least five couples. Each of these choreographers has creative carte blanche.

When we look at the choreographers who worked for the Ballet du Capitole repertoire, we find that they 43

Ballet du Capitole Ballet du Capitole For over two centuries, the Ballet du Capitole was dedicated to opera: it performed at Montpellier Danse the entertainments of the operas presented at the Théâtre du Capitole. It wasn’t - until 1949 that the theatre dedicated entire evenings to dance, on the initiative 2016 Giselle of ballet master and choreographer Louis Orlandi. In 2012, Kader Belarbi, 2019 Focus on Noureev (during danseur étoile and choreographer, was offered the position of dance director at 18-19 Season) the Théâtre du Capitole. He is dedicated to maintaining the tradition of the great classical and neoclassical repertoire while making the Ballet more receptive to a wide variety of aesthetics, and allowing ample room for contemporary creation. Kader Belarbi’s artistic project is to open up the company by diversifying its Roy Assaf at Montpellier repertoires, but also expanding its imprint on its region and its international Danse reputation. Season after season, with its 35 dancers of 11 different nationalities, - it is the reflection of living ballet, in line with its time and open to all. 2009 Variations d’hiver with Emanuel Gat Roy Assaf Roy Assaf was born in 1982 in the farming community of Sde Moshe in the south of Israel. He has been dancing and creating as long as he can remember. He began formal training at the age of sixteen, when he joined a dance group Yasmeen Godder led by Regba Gilboa at the community center in Kiryat Gat. In 2003, he met the at Montpellier Danse choreographer Emanuel Gat and made his mark touring worldwide with Gat as - both performer and choreographic assistant from 2004-2009. Since 2010, he has 2008 Singular Sensation been developing his own works independently and has received commissions 2013 See her change from companies including L.A Dance Project, the Royal Swedish Ballet, the Batsheva Dance Company, and The Juilliard School, among others. In 2018, he will revisit his work Girls & Boys with Ensemble Batsheva and will create new works for Ballet de Capitole and for Staatstheater Mainz. Yasmeen Godder Yasmeen Godder was born in Jerusalem in 1973 and moved with her family to New York City in 1984. She studied dance at the LaGuardia High School for Performing Arts and at the Martha Graham school. She studied Klein Technique, contact improvisation and performance. In 2000, Godder presented her solo Aleena’s Wall in Tel-Aviv then creates I feel funny today and Green Fields for the Batsheva Dance Company. In 2007, Godder opened her own studio in Jaffa which has become a home for all of her activity, projects and creations for the company as well as workshops. In 2016, Godder premiered Common Emotions, an artistic outcome of a year-long project involving dancers, scientists and people living with Parkinson’s disease, researching together movement disorders. Several books have been written about Godder’s work, the most recent one being Set in Motion Dance-Art-Community (2017). Hillel Kogan Hillel Kogan is a choreographer, dancer, dramaturge and teacher. For nine years, from 1996 to 2005, Kogan focused on short creations and was commissioned to create works for the National Ballet of Portugal. Kogan’s repertoire includes the eveninglength works The Rite of Spring (2011) and We Love Arabs (2013). In 2005, Kogan received an invitation to work as Assistant Choreographer to Ohad Naharin. In this role, Kogan has worked as rehearsal director with the Batsheva Ensemble untill summer 2016. Kogan teaches Gaga, a movement language developped by Ohad Naharin. In 2015, Kogan was appointed as coartistic director of the Curtain Up Festival.

Performance organsised for the 2018 France-Israël Season 44 45

Tue. 03rd & Wed. 04th July 10:00 pm Théâtre de l’Agora

Agora 20€ / Reduced 22€ / Full 28€ MAUD LE PLADEC Centre chorégraphique national d’Orléans Twenty-seven perspectives CREATION

Concept et choreography Maud Le Pladec With Régis Badel, Amanda Barrio Charmelo, Olga Dukhovnaya, Jacquelyn Elder, Simon Feltz, Maria Ferreira Silva, Aki Iwamoto, Daan Jaartsveld, Louis Nam Le Van Ho, Noé Pellencin, Marion Rastouil Light design Éric Soyer Musical creation and arrangements Pete Harden Composer Franz Schubert, Symphony No.8, “Unfinished” D 759 (1822-…) Costume design Alexandra Bertaut / Assistant Julien Gallée-Ferré Production : Centre chorégraphique national d’Orléans Coproduction : Festival Montpellier Danse 2018, Chaillot - Théâtre national de la danse, Le Phénix – Scène nationale de Valenciennes during festival NEXT, CDCN La Briqueterie - Biennale du Val de Marne, MC2 : Grenoble

Twenty-seven perspectives can be thought of as a piece as putting into perspective a music through the body in resonance, a new blank page from which I restart, I and the space. put in perspective my work. Twenty-seven perspectives For its creation, I chose to be interested in a new musical draws its title from one of the first projects, 27 esquisses genre in my career: the classical symphony. It is on the perceptives, of the artist Rémy Zaugg (1943-2005), also a work of Franz Schubert, Symphony No.8 - «Unfinished» historian, theoretician and art critic. Remy Zaugg leaves D 759 (1822- ...) that I looked for. A work of art crosses behind a complex work (paintings, sculptures in the time and makes visible an era, a time, today invisible public space, urban and architectural projects) marked and past. I propose to remove a masterpiece to better by a theme of absence, related to a general theory of reveal its strengths and its presence. This does not perception. Zaugg has an obsession: to dissect the exclude hearing music on the set. It is a question here seeing. To tirelessly investigate the perceptual act. His of using a «masterpiece» of classical music, not as a first project is to analyze a single canvas of Cézanne, La referent known and recognized by all but as an object Maison du pendu (1873, Musée d’Orsay) and note what accomplished in its genre and which has defied time. he sees through 27 esquisses perceptives. An operation Schubert’s symphony then becomes a vast sounding that will last five years (1963- 1968), testifying to the cathedral from which emanates a system of forces, inexhaustible reservoir of the visible. energies and structures rich in experiences for the Like the artist Zaugg, the choreographic piece Twenty- movement. Pete Harden, composer and director of the seven perspectives proposes to make visible the KLANG ensemble, will present an original musical invisible. Twenty-seven perspectives will work from a version of the studied symphony. Embracing the story disappearance: that of a major musical work (classical) of a past musical work might seem like a real burden and creative support for dance. The main point of the in which one exhausts oneself to want to be exhaustive. piece is based on a very particular concept of writing: This quest and, perhaps, loss of energy in willing to cross the musical work from which emanates the rules of the past is not also without recalling the very principle composition of the movement, not to say who composes of entropy found in the foundation of all things? Could the dance, will never be revealed in its originality on not we imagine such an operation as a sort of anthem the stage. Methodically, objectively, it will analyze and to life celebrated by the musical and dancing forces? dissect this reference music to identify declensions, A choreographic symphony! «Do not look at the perceptions, choreographic variations. As Zaugg landscape, it’s all in my symphony», Malher advised his did for Cézanne, Twenty-seven perspectives offers a disciple and friend Bruno Walter. choreographic meditation around the number 27, such The relationship to music, scholarly or popular, was the 45 basis of all my plays, music being both the subject and the object of my research. Twenty-seven perspectives If in Twenty-seven perspectives music remains an important component of the project, it is primarily on the writing of the movement that will be my attention. on tour - This raises the question of dynamic and kinesthetic procedures, the choice of 2018 dance vocabulary, the genesis of movements, their syntax, their organization in November 23rd, Festival NEXT, bodies, in time and in space. I wish for this new piece, to enter in a process of Schouwburg, Kortrijk, Belgium choreographic composition extremely rigorous. The dance will give to see and November 27th, Le Phénix, hear a dynamic vision of the music and will thus make appear its abundance. It is Scène nationale de Valenciennes nevertheless in a minimalist approach that I conceive it. The methods of writing pôle européen de création, will go from algorithmic formulas through the principles of composition based Valenciennes, France on musical modalities extracted from the symphonic work previously studied and analyzed. In the continuity of my piece Works, created for the dancers 2019 of the Ballet de Lorraine (2016), I will focus the work on a partitioning and January 22nd to 24th, MC2:, choreographic research but also on a work on the group: unison / a theme and Grenoble, France its variations. Underlain by the works not diffused on the set, the dance will March 28th to April 3rd, Théâtre respond to kinesthetic and spatio-temporal systems determined upstream by National de Chaillot, Paris, France these partitions. The back and forth between the choreographic composition of the dancers and the «hidden» score will form an elusive logic, a sort of «virtual» counterpoint. «This sound device, created and arranged by Pete Harden, will move the work of music, no longer as the centre of the project, but as revealing, allowing to experience a renewal of the «Balanchinian» injunction present in all my pieces: Do I see what I hear or do I hear what I see? In other words, how to «see music and listen to dance»? Maud Le Pladec — Maud Le Pladec After completing the exerce training at CCN Montpellier, Maud Le Pladec performs for several choreographers such as Georges Appaix, Loïc Touzé, Mathilde Monnier, Mette Ingvartsen and Boris Charmatz. In 2010, she created her first piece Professor, first part of a diptych around Fausto Romitelli. The second part, Poetry, follows the year after. In 2013, Maud Le Pladec is a laureate of Hors les Murs program at Institut français and is conducting a research in New York on the current of postminimalist American music. From this research came the creation of Democracy. In 2015, she initiated a new cycle of creations around the word given to women by co-creating Hunted with New York performer Okwui Okpokwasili. In 2016, she worked at the Opéra National de Paris on Eliogabalo with director Thomas Jolly and under the musical direction of Leonardo Garcia Alarcon. At the same time, Maud Le Pladec is associate artist at La Briqueterie – CDCN in the Val de Marne. Since January 2017, she succeeds Josef Nadj and directs the Centre chorégraphique national d’Orleans. She created Borderline in collaboration with the director Guy Cassiers. 46 47

Wed. 04th 6:00 pm & Thu. 05th July 8:00 pm Théâtre la Vignette

Agora 15€ / Reduced 18€ / Full 22€ NAÏF PRODUCTION SYLVAIN BOUILLET / MATHIEU DESSEIGNE-RAVEL / LUCIEN REYNÈS Des gens qui dansent (Petite histoire des quantités négligeables) CREATION Dancing in the Region

Creation and performance Nacim Battou, Clotaire Fouchereau, Julien Gros, Andres Labarca and Lucien Reynès Project initiative Mathieu Desseigne-Ravel / Companions Sylvain Bouillet and Lucien Reynès Artistic collaboration Michel Schweizer / Light design Pauline Guyonnet Sound design Christophe Ruetsch Production : Naïf Production Coproduction : Festival Montpellier Danse 2018, Théâtre National de Chaillot, CDCN-les Hivernales/Avignon, CDCN-le Pacifique/Grenoble, CCN de Rilleux-La-Pape dans le cadre de l’accueil studio, Pôle National Cirque la Verrerie/Alès, Ballet de l’Opéra national du Rhin-Centre Chorégraphique National/Mulhouse dans le cadre du dispositif Accueil Studio 2018, Pôle National Cirque Circa/Auch, scène conventionnée Houdremont/La Courneuve, Théâtre Jean Vilar/Vitry-sur-Seine With the support of La place de la danse – CDCN de Toulouse. Naïf Production is associated artist at the CDCN-Les Hivernales in Avignon and is supported by DRAC PACA.

Dancers are people who dance practice to reveal its identity, just as intention structures Alain Platel speech, as a thought forges a promise.

What makes dance, dance? Alain Platel’s saying evokes an old reality of the Self-taught, I cut my teeth on controlled acrobatics, fed theatre boards. His company was created at a time of myself hip-hop hormones, and took some time to kindle revolution, in comparison to today’s world, a time that desire from my hesitant beginnings at the altar of dance. has disappeared almost without a trace. The end of the In the temples of culture, during the ceremonies of punk scene, when everyone was a dancer, no need to dance, I always feel a little foreign, expert in the local have gone to school. There is a certain force capable traditions, but still a little foreign. of reversing the paradigm that opposes knowing with Today, I see dance as an idea that assumes motion. And not knowing. Our legitimacy doesn’t depend on such since ideas are tools of resistance in the face of reality, strict boundaries and that was the reality created by dance is an act of resistance. An act of transcendence. To those attempts, the first such effort for a very long time. seek the form of things is to seek their substance. It turns out that now some of the most prominent and This piece tends to discover the written form of acrobatic daring dancers tread these very boards. The people who languages and its body postures, its specific declensions. have been chosen for this project are people who have The acrobats, the circus performers, get a free pass. a relationship with the idea of dance that is not that From the mud and the margin, the suburbs of society, of dance school. They are not dancers who trained to they transcend their condition. be dancers. They are dancing bodies, which, at a given They form a small ritualized group that stretches beyond moment in their lives embraced a practice in accordance its ostracism and its poverty of number in an attempt with their capacities. to surpass itself, amidst the peril and the shattering To utter the unspeakable is to let it exist by embodying of codes, and to find a wider community, a human it. There is something akin to a journey, to the will to community. speak which hesitates before words, just as it meets a Considered apart from its established virtues of sort of incapacity; it is then transferred to the body. In prowess and its technical codes, acrobatic practice is contrast to this idea, the piece is also built around Guy body practice. This work seeks the written form of this Alloucherie’s idea that the word returns when dance is 47 exhausted because some things have to be said. The abstraction of the body and Sylvain Bouillet, everything around it forms a limit to our ability to name things at any given time. I oscillate somewhere between these two contradictory and uniting imperatives. Mathieu Desseigne-Ravel, Certain practices can, by their nature, better tell the story of small insignificant Lucien Reynès things than others through the cracks that they open or through a certain level at Montpellier Danse of violence with regards to reality. - Transcendence, resistance and minority communities are the themes that will With 2 Temps 3 Mouvements structure this work. Observations on apparent oppositions between simplicity 2010 La stratégie de l’échec and virtuosity, between the science of movement and absurdity. What makes 2012 Et des poussières dance, dance, and who is this other who dances? Which codes do we need, as 2015 Je suis fait du bruit des autres a minimum, to ensure society functions? It is an attempt to trace the image of otherness in greater detail, this distorting mirror of our deep sense of uniqueness, the crutch of our solitude. Mathieu Desseigne-Ravel — Des gens qui danse on tour Mathieu Desseigne-Ravel - My name is Mathieu Desseigne-Ravel. Today, on the other end of the pen, I’m 37 2018 years old. The son of a teacher and a territorial civil servant. I was born in a city October 18th, 19th, Théâtre Jean surrounded by ramparts, whose symbol is a bridge that leads nowhere. Vilar, Vitry-sur-Seine, France Between 12 and 19, driven by the desire to leave my city, I made an acrobat of myself in a youth club, landing somewhere between circus and hip hop. Five 2019 years of training at the National Centre of Circus Arts to become an acrobat- January 26th, Scène conventionnée tightrope walker-dancer. A solitary specialty; just me and the nothingness of Houdremont, La Courneuve, the ground, perhaps as far removed as possible from the Circassian approach. France Through the roulette of auditions, I left school and country to dance in Belgium, March 28th, Théâtre Jacques Carat, with Alain Platel, at Ballet du Capitole. I stayed six years. Time came to let the Cachan, France need for change breathe again. During all this time, I have continued to share, April 24th, 25th, Pavillon Noir, Aix dream and work with the people with whom, at the beginning of my journey, en Provence, France my dreams took shape and I took my first faltering steps. I collaborated with two Avignon accomplices, Sylvain Bouillet and Lucien Reynès, in the collective 2 Temps 3 Movements. This experience in its collective form ended two years ago and today it is through Naif (Naïve) productions that the adventure continues. Neither a collective nor a company, Naif has a horizontal hierarchical structure, which gives itself the means of action and adopts the axiom according to which there is no creation but collective creation. We defend the necessity of the «we» so that personal initiative comes about, the college of the wit, so that ideas come to us of their own accord. In a world of art which, furthering old right-wing ideas, erects Mussolini-like statues to solitary creators, we venture a left-handed collectivist approach, which addresses utopia with demands and responsibilities. Which declares above all that we do nothing alone, that the association is central to success so that it is no longer the triumph of one over all, that our identities will cease to be harmful when they no longer blind us, and that all our quirks, all our specificities, as acute as they are, trace our path as a common. Labyrinthic mosaic, but an inclusive one. A place from which to listen to the noise of the world.

Performance created in working residence at the Agora, cité internationale de la danse with BNP Paribas Foundation support.

With the support of FONDOC, supporting fund for contemporary creation in Occitanie 48 49

Wed. 04th / Thu. 05th & Fri. 06th July 8:00 pm Opéra Comédie

1st cat. Agora 25€ / Reduced 28€ / Full 35€ 2nd cat. Single rate 15€ ANNE TERESA DE KEERSMAEKER JEAN-GUIHEN QUEYRAS ROSAS Mitten wir im Leben sind Bach6Cellosuiten CREATION

Choreography Anne Teresa De Keersmaeker / Cello Jean-Guihen Queyras Created and performed by Boštjan Antončič, Anne Teresa De Keersmaeker, Marie Goudot, Julien Monty, Michaël Pomero Music Jean-Sébastien Bach, Six suites pour violoncelle seul, BWV 1007 - 1012 Costumes An D’Huys / Light Luc Schaltin / Dramaturgy Jan Vandenhouwe Production : Rosas Coproduction : Festival Montpellier Danse 2018, De Munt / La Monnaie (Bruxelles), Ruhrtriennale, Concertgebouw Brugge, Philharmonie de Paris – Théâtre de la Ville – Paris – Festival d’Automne à Paris, Sadler’s Wells (Londres), Les Théâtres de la Ville de Luxembourg, Opéra de Lille, Ludwigsburger Schlossfestspiele, Elbphilharmonie (Hambourg), Thanks : Thomas Hertog, Palle Dyrvall, Anke Loh, Aurianne Skybyk, Mathieu Bonilla, François Deppe, Alain Franco, Kimiko Nishi, Maria Eva Rodriguez Mitten wir im Leben sind/Bach6Cellosuiten was carried out with the support of the Tax Shelter from the Belgium Federal Government, in collaboration with Casa Kafka Pictures Tax Shelter empowered by Belfius. Rosas is supported by the Flemish Community.

Between gravity and levitation What is it that makes his music so appealing to interview with Anne Teresa De Keersmaeker dancers? & Jean-Guihen Queyras ATDK: Bach’s music is rigidly structured, yet remains by Jan Vandenhouwe, rooted in movement and dance. It was Jean-Guihen dramaturg, August 2017 (extracts) who made me aware of how important the concept of tonal harmony was to Bach – the relation between different keys, between major and minor. Bach used it to How did the idea to create a joint dance performance create unity in large compositions. I sensed that I didn’t first arise? do enough with that in my previous Bach performances. JGQ: I must confess that I am a lay person when it JGQ: Honestly, I have the feeling that I have infected comes to matters of dance. Above all, I was simply you with my obsession for Bach’s harmonic flow. When unable to detect any satisfying links between music playing the suites, I tend to just utterly centre my and choreography. This up to a couple of years ago, attention on that very flow. When I pointed out to you when composer and organist Bernard Foccroulle and the dancers during the rehearsals that there exists recommended I have a look at the work of Anne Teresa. an ‘inaudible’ bassline lingering under the melody of the It had always struck me that she had the habit of working monophonic cello suites, you immediately urged me to with the method of a composer. She goes to the roots, to write it out. the crux of a composition, from which she allows her ATDK: In the chaconne of the second violin partita, I choreography to grow. And that’s when I immediately once worked with Amandine Beyer on the underlying sensed your desire to do something with Bach. bassline. The basic movement in the choreography ATDK: Old and new music have always played a key role was then based on the principal ‘my walking is my in my work. Overall, however, Bach has always occupied dancing’. Whereas the basic movement here was two- an even more unique spot within classical music for me. dimensional, it has now become three-dimensional. There is simply no other composer that succeeds in Today we find ourselves working on the horizontal and conveying that sense of ‘embodied abstraction’ as much the vertical axes. as he does. He stands at a unique moment in the history of music, in the history of mankind, even. 49

How does that work? Anne Teresa De ATDK: The verticality of the spine is typical for the human posture. The posture of an animal is horizontal, usually stood as it is on four legs. With human beings, the Keersmaeker horizontal axis is the social axis on which you either approach or avoid someone. at Montpellier Danse The vertical axis is the spiritual axis, the relationship between the higher and - the lower spheres. Rehearsing the cello suites has proved a veritable challenge. 1985 Rosas danst Rosas, Elena’s How can one translate the harmonic structure of the music into a posture of Arias the human body? There is much to learn from bodily language: a vertical spinal 1991 Achterland column conjures an open, positive sentiment whereas a forward-bent spinal 1995 Amor constante màs allà de la column generates a closed, melancholic mood. Do you know when we as human muerte beings assume a horizontal position with our spinal column, Jean-Guihen? 1999 Fase four movements to JGQ: When we go to sleep? Or something else? [laughs] the music of Steve Reich, I said I, ATDK: Or die. It is usually associated with the act of surrender, the relationship Drumming between the passive and the active, between the yin and yang of Eastern philosophy, 2006 D’un soir un jour as it were. For the Lutheran protestant Bach, the relationship with death was a 2010 Rosas danst Rosas principal element not only in his cantatas but also in his other music. ‘Mitten wir 2015 Golden Hours (As you like it) im Leben sind / Mit dem Tod umfangen’, is an excerpt from a Medieval hymn in Latin which was translated by Luther and which also appears on Pina Bausch’s gravestone.

Isn’t it a huge challenge to make a two-hour performance with only music for solo cello? Mitten wir im Leben sind ATDK: As a largely monophonic instrument, the cello entails a certain economy of means. It is interesting to see how Bach maximises the capabilities of the on tour instrument, pushes it as far as it can go. - JGQ: He ingeniously turns a handicap into an advantage. With Bach, the 2018 physical reality of the instrument and its player is as important as the intellectual July 9th, 10th, Julidans, Amsterdam, construction of the composition. There is a mixture of spirit – the strength of the Netherlands concept – and matter itself. Bach was very much aware of the effect of the addition July 12th, Ludwigsburger of a triad or of a four-note chord to his musical material and, as a consequence, to Schlossfestspiele, Ludwigsburg, the temporal progression of the piece as such. The reason for this is that such chords Germany cannot be played on a cello simultaneously, as on a piano, but only consecutively. July 14th, 15th, ImPulsTanz, Vienna, Austria November 17th to 19th, Anne Teresa De Keersmaeker Philharmonie de Paris, Festival In 1980, after studying dance at Mudra School in Brussels and Tisch School of the d’Automne à Paris, Paris, France Arts in New York, Anne Teresa De Keersmaeker, born in 1960, creates in 1980 Asch, her first choreographic work. Two years later came the premiere of Fase, Four Movements to the Music of Steve Reich. She establishes the dance company Rosas in Brussels in 1983, while creating the work Rosas danst Rosas. Her choreography has been grounded in the exploration of the relationship between dance and music, engaging the musical structures and scores of several periods. Her choreographic practice also draws formal principles from geometry, numerical patterns, the natural world, and social structures. In 1995, she establishes the school P.A.R.T.S. (Performing Arts Research and Training Studios) in Brussels in association with De Munt/La Monnaie. Jean-Guihen Queyras For long, Jean-Guihen Queyras has been the solo cellist of the Ensemble Intercontemporain, his work influenced by his collaboration with Pierre Boulez. He’s performed several series of concerts featuring the Suites by J.S Bach alongside contemporary works. His regular chamber music partners include the pianists Alexander Melnikov and Alexandre Tharaud and the violinist Isabelle Faust. He is a member of the Arcanto Quartet with Tabea Zimmermann, Antje Weithaas and Daniel Sepec. Jean-Guihen Queyras is Professor at the Musikhochschule in Freiburg, Germany and one of the Artistic Directors of the ‘Rencontres Musicales de Haute-Provence’ (France). He has played a cello made by Gioffredo Cappa in 1696, on loan from Mécénat Musical Société Générale. 50 51

Thu. 05th & Sat. 07th July 6:00 pm Studio Bagouet / Agora

Agora 15€ / Reduced 18€ / Full 22€ PHIA MÉNARD Compagnie Non Nova Contes Immoraux Partie 1 – Maison Mère

Writing and dramaturgy Phia Ménard, Jean-Luc Beaujault Scenography and performance Phia Ménard Sound design and management Ivan Roussel Stage director Pierre Blanchet et Rodolphe Thibaud Costume and accessories Fabrice Ilia Leroy Production : Compagnie Non Nova Coproduction : Documenta 14 - Kassel et Le Carré, Scène nationale et Centre d’Art contemporain de Château-Gontier. The presentation of the performance for Documenta 14 in 14th July 2017 was made possible thanks to the support of the Institut Français and the Ville de Nantes. Compagnie Non Nova is subsidised and supported by the State, Direction régionale des affaires culturelles (DRAC) des Pays de la Loire, la Ville de Nantes and le Conseil Régional des Pays de la Loire. It receives support from the Conseil Départemental de Loire-Atlantique, from the Institut Français and from the Fondation BNP Paribas. Compagnie Non Nova is associated artist at the Espace Malraux Scène nationale de Chambéry et de la Savoie, at the Théâtre Nouvelle Génération - Centre Dramatique National de Lyon, at the Théâtre National de Bretagne and at the Centre chorégraphique national de Caen en Normandie.

Kassel/Athens/Paris. A triangle. A tripod. Moving The woman I kept secretly hidden away turned me backwards and forwards, there and back, beween the into an adult. Learning to be one’s sex is easy, it’s just surface and the depths. a method of fitting people in, or a way of knowing Erecting buildings with no foundations, listening how to fit in. I broke the chain, I pushed the boat away to the ruins, summoning the gods and goddesses, from the riverbank. I like soft floors because when in preparing ourselves for oracles and fighting against their contact with them, it’s not the body fitting the form of revelations, breaking through the marble’s glossy lustre, the floor, but the floor fitting the shape of the body. And regurgitating the fascist brown plague, what do I know ? yet I am attracted to mineral substances. They scratch Kassel/Athènes. These cities are not my cities. I have my skin and spill my blood. I am full of blood, full of no grasp of either of their languages. And yet I do not anger contained beneath my skin. Blood does not have feel like a foreigner, just a passenger. On the scale of an the same borders. My country is B+. You can’t read individual I am a comfortable migrant, a sort of middle- this in my face. Only the B+ people know they come class, bohemian French woman. Nothing, except for my from the same place. At Kassel/Athens/Paris, the B+ birth certificate, betrays my migration. I am one of the people don’t know each other, they don’t speak the same few who has allowed myself to surrender the full powers language, but at least they know they are important to bestowed to me, in order to live freely. I have taken on each other. On this level, identity is an irrefutable piece the role of the weak, yet I inherited the chromosomes of of machinery which never lies. What makes me write ? kings. I have chosen to take on the stubborn role of « the The misery pouring out of dispossessed populations. opiniated one », to try and make others understand the The sadness of bodies in contradiction with themselves, necessity of seeing the body as malleable macer. I migrate caught between their desire for individual freedom and from one status to another, requesting that my sentence society’s approval and affirmation. I am searching for be reduced… In this new life, I move forward every the smell which identifies them. I immerse myself in day, balancing on emerging stepping stones, swaying the flock’s sweat as they struggle to stay alive, whilst the from one step to the next, without knowing whether my executioners tighten the enclosure of power they hold stepping-stones will give way and betray me ! in their hands. Like you, I inherited Europe’s history Learning is less conflictual than unlearning, of this I of conflict. The blood is now hazy vapour, but like a am sure. During an endless adolescence, I was forced volcano which builds up its magma reserves, a well is to tailor my behaviour, my actions and my attitude. filling up, silently. A new era of chaos is in preparation, 51 or maybe it just never stopped growing… 1971, 1986, 1989, 2001, 2015. Birth, Phia Ménard Tchernobyl, the Fall of the Wall, the Patriot Act, the end of democratic choice in Greece. My train of thought is a jungle which I am trying to tame and reclaim. at Montpellier Danse - The initial project is composed of three performances, of which this is the first. 2011 L’après-midi d’un foehn Although the provisional title is Contes immoraux, there won’t be a moral, and Version1, Black Monodie, P.P.P. there definitely won’t be any didacticism. The questions raised by Documenta 14 2015 Belle d’Hier in this year’s proposition : « Learn from Athens », and « Parliament of Bodies », clash in their reflections on identity, the body and macer, the groundwork of my research. Trying to imagine a form for these two places, Kassel and Athens, is the intellectual equivalent of doing the splits. I will be viewing the subject macer through a prism of components which oscillate between political gestures, body affirmation and the contradiction of elements. Here are some details and a brief outline of my project …

Immoral Tales - Part one: The Mother House So that the Allied troops fighting against the Axis partners could engage their troops on European soil, they employed the defence strategy of carpet bombing. This strategy, used on both sides, turned out to be an unprecedented human tragedy for all of Western Europe. Entire cities were wiped out, burying their inhabitants beneath the rubble. My maternal grandfather was one of these victims when Nantes was carpet bombed by the Allies in 1943. During my childhood, the image and consequences of bombs did not seem real to me ; bombs were just the stuff of fantasy, as they were for many children. It was much later in my life, when I realised we were not going to lay flowers at the grave of my grandfather but were instead going to visit a faceless mass grave, that I understood the terrible infamy of bombs. Maybe it was at that moment my mind stumbled across the words « Marshall Plan », the program set up to rebuild Europe : organise mass destruction and then manage the reconstruc- tion of war-devastated cities, following the model of a re-fabricated house and a rewritten urban development plan. Build a Marshall village out of made-to- measure cardboard, the same way we put up a series of tents for refugees. Just here, beneath a seemingly unthreatening cloud. A simple, repetitive gesture, like a robot. Spead out, trace, cut, assemble, put in place, then start all over again. Everything seems perfect, except for that cloud, which looks like it’s getting bigger, thicker and darker. Maybe a bolt of lightening, a gentle breeze, then eventually a series of heavy raindrops, a shower, maybe even a rainstorm with torrents of water ! The Marshall village collapses, despite the energy used up trying to save it. It turns into mush, a sticky mess in which bodies drown… Phia Ménard — Phia Ménard Watching Jérôme Thomas’ show Extraballe in 1991, Phia Ménard realised she felt a strong desire to train in the performing arts and in particular in the art of juggling. In 1994, she joins Thomas’ company as a performer and creates numerous shows up until 2003. She founded the company Non Nova in 1998, whose name reminds of the foundational dictum Non nova, sed nove : we don’t invent anything, we just see things differently. In 2008, Phia Ménard revealed her new identity and her decision to change sex. She develops I.C.E. - Complementary Unjugglability of the Elements, a project consisting of a creative, intellectual and imaginitive approach around the notion of transformation, erosion and the sublimation of natural matter and elements. She organizes her pieces in cycles: The Ice Cycle (P. P. P. , 2008), The Wind Cycle (L’après-midi d’un foehn version 1, 2008; Vortex, 2011; Les OS Noirs, 2017) and The Water and Vapour Cycle (Belle d’Hier, 2015; Maison Mère, 2017; Saison Sèche, 2018). In 2018, she works on her new creation Et in Arcadia Ego for the Opéra-Comique de Paris with Christophe Rousset. 52 53

Fri. 06th & Sat. 07th July 8:00 pm Opéra Berlioz / Le Corum

Agora 1st cat. 28€ / 2nd cat. 22€ / Reduced 1st cat. 32€ / 2nd cat. 26€ Full 1st cat. 40€ / 2nd cat. 32€ / 3rd cat. 16€ / 4th cat 10€ NEDERLANDS DANS THEATER Led by Sol León and Paul Lightfoot

SOL LEÓN & PAUL LIGHTFOOT Shut Eye MARCO GOECKE Woke up Blind CRYSTAL PITE Création

Shut Eye Woke up Blind Création With 8 dancers With 7 dancers Choreography Crystal Pite Choreography, setting Sol León et Paul Lightfoot Choreography Marco Goecke Production : Nederlands Dramaturgy Nadja Kadel Music Jeff Buckley Dans Theater Music Olafur Arnalds Light Tom Bevoort Light Udo Haberland Costume Joke Visser, Hermien Hollander Costume and set Marco Goecke Film design Sol León Shooting and directing by Rahi Rezvani and Sol León Editing by Dicky Schuttel and Sol León

Interview Merce Cunningham, Pina Bausch…). Is it a heavy with Sol León & Paul Lightfoot responsibility? by Montpellier Danse, February 2018 Not at all. Tradition is something you put into practice, not something you are held down by. At NDT we do not Why did you choose Marco Goecke and Crystal Pite live in the past, instead we constantly focus on the future. to create a piece for Nederlands Dans Theater (NDT)? It’s a very chameleonic company, which means that Both choreographers are associates with the company, every director, including Jiří Kylián has constantly tried which means they annually create a new piece for to work towards reshaping, renewing, reinterpreting the either NDT 1 or NDT 2. They are part of the creative company in order to move it forward. I’m just trying to foundation of this house. 2018 marks Crystal Pite’s tenth add to that by focusing on those core values. year as our associate choreographer, whereas Marco Goecke was signed on to us in 2014. Both of them carry Performances made by Grands ballets or Opera Ballet very different qualities in the work that they make and are often a public success. When we buy a ticket for the way they create it with our dancers. Their work is a ballet, we have an expectation more determined so distinctive yet finds common ground in its vibrancy than when we buy a ticket for a contemporary and outspokenness. We feel they both add significantly dance company. Does it head for the choice of the to the NDT’s signature of putting forth innovative dance choreographers to whom you ask to create? languages. No, certainly not. Giving the public what they expect is not what the principles of NDT are based on. We always What do you think they can bring to your dancers? put art first and hopefully the audience responds well They are outspoken voices that require from our dancers to that. Of course we are very aware of the fact that we to adapt quickly to and to make it their own. Apart from perform in large theatres for large audiences but we working with renowned choreographers our dancers hope that our public will get carried away by our art get a chance to develop their artistic personalities on the when they experience it. It should go hand in hand! highest possible level. In your repertoire, we find a majority of neo-classic You succeed to Jiří Kylián, your generation succeeds choreographers with some choreographers from to the « masters » generation (Maurice Béjart, contemporary dance. This distribution is also in 53 others ballets’ repertoire. Do you think there are two parallel stories of the Nederlands Dans Theater dance: one made with works from ballets and one made with works from independent companies? at Montpellier Danse - Not to toot our own horn, but NDT can be considered the leading creative 1983 with Jiří Kylián house globally that is often emulated by other, lesser known companies. In its Curses and Blessings rich history – also far before my time here – NDT has brought forth iconic Dream Dances makers such as William Forsythe, Hans van Manen, Nacho Duato and of course Soldatenmis Jiří Kylián. A lot of repertoire with other companies has been built off of the Symphonie de Psaumes repertoire of NDT. Obviously, we are most certainly not the only company that Stamping Ground has had such a major impact, but in the end, the majority of work that is created with Christopher Bruc today stems from work that was created at companies like NDT. Ghost Dances

— 1986 with Hans van Manen Ballet Scènes Nerderlands Dans Theater with Jiří Kylián NDT is founded in 1959 by Benjamin Harkarvy, Aart Verstegen and Carel Birnie Overgrown Path and installed à The Hague, Netherlands. In 1975, Jiří Kylián becomes artistic Sinfonietta director and set up the NDT 2 three years later. This part of the company is Chants du compagnon errant dedicated to young dancers and allows them to enhance their technique. They with Jerome Robbins can join NDT 1 if they meet the artistic direction’s expectations. Since 2011, Paul Moves Lightfoot is appointed director of the NDT. Sol León joins him the year after. The with Nacho Duato NDT company regularly invites outer choreographer. Jardi Tançat

Sol León & Paul Lightfoot 2001 with Jiří Kylián Born in 1966 in England, Paul Lightfoot joined the company in 1985, starting as No more play a dancer with NDT 2. Two years later Lightfoot joined NDT 1, where he danced Petite mort until 2008. Sol León joined NDT 2 after graduating from the National Ballet Sarabande Academy of Madrid in 1987. Two years later she joined NDT 1 and danced in Falling Angels masterpieces of Jiří Kylián, Hans van Manen, Mats Ek and Ohad Naharin, up Sweet Dreams until 2003. León and Lightfoot have been a choreographer’s duo since 1989 and Sechs Tänze together they have created more than fifty pieces for the company. In 2002, they are appointed house choreographers for NDT. 2005 with Sol Léon & Paul Lightfoot Marco Goecke Silent Screen Born in Wuppertal, Germany, Marco Goecke completed his ballet education at Signing Off the Heinz-Bosl-Stiftung Ballet Academy in Munich, after which he graduated at with Jiří Kylián the Royal Conservatory in The Hague. He first works as a choreographer at the Anomaly One Theater Hagen and the Noverre-Gesellschaft of Stuttgart and creates ballets for One of a Kind the New York City Ballet and the Stuttgart Ballet. Since 2005, Goecke is resident Colorful Black and White choreographer at the Stuttgart Ballet, between 2006 and 2011 with Scapino Ballet Rotterdam, and since 2013 he is also associate choreographer with Nederlands 2010 with Ohad Naharin Dans Theater. Minus 16 with Jiří Kylián Crystal Pite Whereabouts Unknown Canadian choreographer and performer Crystal Pite made her debut in 1990 Symphonie de Psaumes at Ballet British Columbia and Ballett Frankfurt – William Forsythe. She Mémoires d’Oubliettes created more than forty pieces ever since. Pite is an Associate Choreographer of Nederlands Dans Theater, Associate Dance Artist of Canada’s National Arts Centre, and Associate Artist at Sadler’s Wells, London. In 2002, Pite formed her own company Kidd Pivot in Vancouver. In 2016, Crystal Pite creates The Seasons’ Canon for the Paris Opera ballet.

With the support of the Dutch Performing Arts and the Ministry of Foreign Affairs of the Netherlands Montpellier Culture Destination, first partner of Montpellier Danse

Montpellier has made culture one of the pillars of its identity, and central to its economic and urban development policy, with the aim of making the city a prime destination for the arts. Montpellier Danse Festival contributes significantly to the cultural aura of Montpellier Metropolitan area by attracting some of the world’s greatest dancers and regaling enthusiastic audiences. Top quality dance performances for the pleasure of the Metropolitan citizens, and for lovers of contemporary dance from all over France. Montpellier Méditerranée Métropole is the Festival’s top partner, with 1,538,000 Euros of funding, aimed at making Montpellier a recognized cradle of dance.

Once again this year, June will see the opening of the 38th Montpellier Danse Festival. Choreographers Fabrice Ramalingom and Sylvain Huc will be present throughout the Festival, touring 11 Metropolitan towns - Montferrier- sur-Lez, Saussan, Montpellier, Montaud, Saint-Jean-de-Vedas, Baillargues, Pignan, Fabrègues, Sussargues, Vendargues and Juvignac – taking dance directly to the inhabitants. Our cultural outreach policy is reaffirmed yearly, with high quality dance performance on everybody’s doorsteps.

Montpellier Culture Destination

Since 2014, under the impetus of Philippe Saurel, Mayor of the City of Montpellier, President of Montpellier Méditerranée Métropole, culture has taken a new turn in this city, which is now rated as a veritable laboratory for culture. The cultural offer is characterized by innovation, diversity, quality and scope of outreach to a very wide audience. Three major new facilities are planned for launch by 2020: the MoCo, Contemporary Montpellier, the Regional Music Conservatory and the municipal archives.

A diverse range of cultural offering

Reputed festivals, nationally recognized cultural facilities, promotion of new talent, development of art in all forms, Montpellier has a deeply marked cultural identity. All art forms are represented here: from music to literature, from visual arts to theater, from urban culture to dance, from cinema to heritage.

A high quality offer

Support for cultural dissemination, support for creation, development of new facilities and the promotion of artistic training illustrate the ambition of a constantly renewed cultural policy targeting excellence. A veritable laboratory of experimentation, Montpellier is an essential cultural destination. Montpellier Danse is one of the components. This internationally-renowned contemporary dance festival, attracting thousands of spectators yearly to enjoy a rich, high-quality dance season in the Agora, cité internationale de la danse, located at the heart of the Ursulines Convent.

An accessible offer

Making culture accessible for the largest number is a major objective for the City and the Metropolitan area, as shown through numerous events and facilities. Audiences here discover top-rank artists, whose reputation goes well beyond the frontiers of France and Europe, and regular premiere performances, free of charge.

Press contact: Ophélie Flohic 00 33 (0)4 67 13 60 20 / 00 33 (0)6 75 92 55 25 [email protected] BNP PARIBAS FOUNDATION’S COMMITMENT TO DANCE

Supporting contemporary creation in France and ©Julia Gat – Emanuel Gat Dance internationally The BNP Paribas Foundation has been supporting creation in dance for 33 years. It is currently involved with 17 artists and companies who are exploring new territories. Its support is long term, facilitating companies’ research time and the production of projects. Convinced of the richness of hybrid forms and interdisciplinary approaches, it also supports artists from contemporary circus

The BNP Paribas Foundation extends its sponsorship internationally by supporting companies and creative projects in Europe, Asia and the United States. It also contributes to artistic cooperation between cultures, notably by supporting international residencies of major dance institutions.

Supporting the action of the Montpellier Danse Festival’s in favour of creativity and international openness The BNP Paribas Foundation has been supporting the Festival Montpellier Danse since 2012. It thus aims to showcase and promote the festival’s commitment to creativity, which is reflected once again this year with the presentation of 16 productions and premieres in France.

The BNP Paribas Foundation specifically supports the residency programme set up by Montpellier Danse, which has already benefited 95 companies from around the world. The BNP Paribas Foundation and the Festival Montpellier Danse also have artistic affinities. Projects by numerous choreographers supported by the BNP Paribas Foundation were presented at the festival: Sidi Larbi Cherkaoui, Emanuel Gat, Alonzo King and Mourad Merzouki. This year, Anne Teresa De Keersmaeker - Cie Rosas and Phia Ménard - Cie Non Nova, are part of the Festival’s programme.

Imagining dance in the digital age The BNP Paribas Foundation is also interested in new links between artistic creation and technological innovation. How do we create in the digital era? What are the new possibilities offered by technologies in the choreographic field? The BNP Paribas Foundation supports experiments and the development of innovative proposals for the creation and diffusion of dance. It is contributing to the production of the virtual reality film Fugue ©Dance Archive Network Archive ©Dance VR, to the numeridanse.tv platform, and to the Dance Archive Project in Japan.

Dance in the community The BNP Paribas Foundation is committed to help dance play its role in society. It has initiated a cycle of conferences to give a resonance to the engagement of actors in the discipline within the community..

PRESS CONTACTS BNP Paribas Foundation: Renato Martinelli, media relations officer [email protected] - +33 (0)1 58 16 84 99 Heymann Renoult Associées: Sarah Heymann and Julie Oviedo [email protected] - +33 (0)1 44 61 76 76 56

MONTPELLIER DANSE AT THE METROPOLIS

in Baillargues, Castries, Clapiers, Fabrégues, Juvignac, Montaud, Montferrier-sur-Lez, Montpellier, Pérols, Pignan, Saint-Jean-de-Védas, Saussan, Sussargues, Vendargues

from SAT. 23RD JUNE to WED. 04TH JULY FREE ENTRANCE

Sylvain Huc Gameboy © Jean-François Quais 57

FABRICE RAMALINGOM SYLVAIN HUC A New Wild Blossom Gameboy

Choreography Fabrice Ramalingom Conception, choreography Sylvain Huc With 13 dancers Created in collaboration with from the Coline d’Istres Program 14 dance amateurs.

MONTPELLIER PIGNAN parvis Buren du Musée Fabre, parc du château, avenue de l’Europe esplanade Charles de Gaulle July Sun. 1st at 11:00 am June Wed. 27th at 6:30 pm VENDARGUES BAILLARGUES place Espartinas, avenue de la gare espace vigneron, place du jeu de ballon July Sun. 1st at 8:00 pm June Thu. 28th at 8:00 pm SAUSSAN FABRÈGUES parking du foyer rural, rue des pénitents plan des fêtes, rue Jeanne d’Arc July Mon. 02nd at 8:00 pm June Fri. 29th at 8:00 pm MONTPELLIER SAINT JEAN-DE-VÉDAS parvis de la mairie, parvis de la médiathèque Jules Verne, place Georges Frêche rue Auguste Renoir July Tue. 03rd at 6:00 pm June Sat. 30th at 11:00 am JUVIGNAC SUSSARGUES place du soleil, place du 14 juillet, route de Montpellier terminus du tramway ligne 3 June Sat. 30th at 7:30 pm July Wed. 04th at 8:00 pm

We usually dance simply to be together! It is a long- Sylvain Huc invited some fifteen men to participate in a one- term complicity that connects the choreographer Fabrice week workshop. Some have a dance or sports background, Ramalingom with the troupe of young dancers – performers others do not, but all are enthusiastic participants in the of the Coline contemporary dance training program, as choreographer’s physically intense workshop. At the end of well as audiences in the city. For this new group piece, the workshop, Gameboy is presented to the public in the presenting young dancers full of ardour for life and desire for form of a performance in constant evolution, showcasing collaboration, Fabrice Ramalingom reaffirms his unshakeable the shared explorations of the volunteers. Between breakage confidence in movement as a force for emancipation, and and deformation of the body’s motion, the threatening brings dance from the studio and theatre to city streets and liquidity of a human herd, epidermal sensuality, the squares. challenge of relationships or speaking out about male self- representation, Gameboy disrupts assumptions and roles by posing an underlying question: what place does a young man occupy in 2018, in France, in Montpellier? dc

OPEN CLASSES Outdoor dance classes with the 38th Festival’s artists

MONTFERRIER-SUR-LEZ MONTAUD place du marché, place des Grèses place de l’Eglise MAGALI MILLIAN & ROMUALD LUYDLIN FABRICE RAMALINGOM La Zampa June Sun. 24th at 10:00 am June Sat. 23rd at 10:00 am 58

MONTPELLIER DANSE IN THE METROPOLIS

CINEMA IN THE METROPOLIS MEDIA LIBRARIES

Dans les pas de Trisha Brown © Marie-Hélène Rebois 59

MONTPELLIER DANSE IN THE METROPOLIS

June Sat. 23rd at 4:00 pm June Sat. 30th at 3:00 pm Media library Emile Zola Media library Jean Giono in Montpellier in Pérols

DANS LES PAS DE BHAIRAVA TRISHA BROWN Film by Marlene Millar Glacial Decoy and Philip Szporer (2017, 14mn) à l’Opéra In this piece, supported by a Film by Marie-Hélène Rebois rich and powerful musical score (2016, 1h22) and by the unique energy of the Trisha Brown has transformed June Wed. 27th at 3:00 pm ancient site of Hampi, Shantala June Sat. 30th at 5:00 pm contemporary dance: by defying Media library Albert Camus Shivalingappa deploys all her Médiathèque Françoise the law of gravity, she has in Clapiers technical mastery and refined Giroud in Castries imbued the discipline with an expressiveness to embody the extraordinary fluidity, a new LA DANSE AUX POINGS presence and the particular energy RAIN imbalance... Her piece Glacial Film by Mohamed Athamna of Bhairava, alternating between Film by Olivia Rochette, Decoy has been added to the (2011, 52mn) very precise symbolic gestures and Gérard-Jan Claes (2012, 1h22), more abstract dance moments with the participation of Anne Teresa repertoire of the Ballet de l’Opéra Mohamed Athamna offers us where movement arises in De Keersmaeker de Paris. We follow the work of the unique opportunity to go response to the imposing presence On 25th May 2011, the Paris Lisa Kraus and Carolyn Lucas behind the scenes of Mourad of Bhairava. Opera Ballet presented a with the dancers of the Opera. Merzouki’s Boxe Boxe piece and to choreographic piece by Anne Driven by the enthusiasm and understand the process of creating Teresa De Keersmaeker for the energy of Lisa and Carolyn, the a choreographic piece. Rehearsals, first time - Rain. Filmmakers film immerses us in the innovative interviews and excerpts from the Olivia Rochette and Gerard-Jan and captivating movement of show intertwine throughout this Claes observed the rehearsals, Trisha Brown. documentary to immerse us in the auditions and the premiere. The choreographer’s daily life. documentary focuses on how Anne Teresa De Keersmaeker and the Rosas dancers convey the choreographer’s gestural vocabulary to these classically June Sat. 30th at 3:15 pm trained dancers. A poetic Media library Jean Giono documentary about research, in Pérols perspective and doubt within the sometimes oppressive operatic SHANTALA milieu. Film by Ezra Belotte-Cousineau (2015, 52mn) th June Tue. 26 at 6:00 pm June Fri. 29th at 6:00 pm Shantala is a documentary film Media library Jules Verne Médiathèque La Gare that explores the art and work in Saint-Jean-de-Védas in Pignan of Shantala Shivalingappa. In LES SIX SAISONS London, New York, Philadelphia, CORPS ACCORDS Film by Gilles Delmas (2012, 52mn), San Francisco, Montreal and Paris, with Akram Khan Film by Michel Follin (2002, 1h), with Anne Teresa director Ezra Belotte-Cousineau This documentary is a film De Keersmaeker and Thierry de Mey follows Shantala and tries to / mirror about the creation capture, through her dance and In April 2002, for the 20-year of Akram Khan’s Desh. This interviews, the essence of this anniversary of her dance company solo piece weaves a sari-like discreet character, animated with July Wed. 04th at 5:00 pm Rosas, choreographer Anne perspective on its origins: passion for her work and for Media library Albert Camus Teresa De Keersmaeker created Bangladesh. The film unfolds others. in Clapiers April me, a show for which she like a thread in a continuity of reunites with her composer and GARDEN narratives, bridges and parallels creative accomplice, Thierry Film by Louise Narboni (2017, 1h14), that point at each of our cultural De Mey. Michel Follin gives us choreography by Medhi Walerski origins. The author’s view an exciting film which reports considers geopolitical issues in This documentary follows on the very sophisticated Bangladesh by reflecting on the the creation of GARDEN by process of consultation between effects of global warming and choreographer Mehdi Walerski musical composition and economic migration. for the Nederlands Dans Theater choreography. Development of in September 2016. Inspired by the choreographic vocabulary, the Piano Quintet in A minor by novel sounds, choosing sets and Camille Saint-Saëns, this classical costumes, the tension at the composition becomes a source of premiere, Corps Accords reveals inspiration for the choreographer. these phases of production, The film details the process of these privileged moments where creating the show with the NDT1 experimentation becomes the dancers. engine of creativity.

In parternship with arte

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MONTPELLIER DANSE IN THE METROPOLIS MONTPELLIER DANSE IN YOUR CITY FREE ENTRANCE

BAILLARGUES MONTPELLIER June Thu. 28th at 8:00 pm June Wed. 27th at 6:30 pm espace vigneron, place du jeu de ballon parvis Buren du Musée Fabre FABRICE RAMALINGOM esplanade Charles de Gaulle A New Wild Blossom FABRICE RAMALINGOM --- A New Wild Blossom

CASTRIES rd June Sat. 30th at 5:00 pm July Tue. 03 at 6:00 pm Media library Françoise Giroud parvis de la mairie, place Georges Frêche RAIN SYLVAIN HUC A movie by Olivia Rochette, Gérard-Jan Claes (2012, 1h22), Gameboy with the participation of Anne Teresa De Keersmaeker ------PÉROLS CLAPIERS June Sat. 30th at 3:00 pm June Wed. 27th at 3:00 pm Media library Jean Giono Media library Albert Camus BHAIRAVA LA DANSE AUX POINGS A movie by Marlene Millar A movie by Mohamed Athamna (2011, 52mn) and Philip Szporer (2017, 14mn) SHANTALA July Wed. 04th at 5:00 pm A movie by Ezra Belotte-Cousineau (2017, 52mn) Media library Albert Camus --- GARDEN PIGNAN A movie by Louise Narboni (2017, 1h14), July Sun. 1st at 11:00 am choreography Medhi Walerski for the Nederlands Dans Theater parc du château, avenue de l’Europe --- FABRÉGUES SYLVAIN HUC June Fri. 29th at 8:00 pm Gameboy plan des fêtes, rue Jeanne d’Arc June Fri. 29th at 6:00 pm FABRICE RAMALINGOM Media library La Gare A New Wild Blossom CORPS ACCORDS --- A movie by Michel Follin (2002, 1h), with JUVIGNAC Anne Teresa De Keersmaeker and Thierry de Mey July Wed. 04th at 8:00 pm --- place du soleil, end of the 3rd tramway line SAINT-JEAN-DE-VÉDAS SYLVAIN HUC June Tue. 26th at 6:00 pm Gameboy Media library Jules Verne --- LES SIX SAISONS MONTAUD A movie by Gilles Delmas (2012, 52mn), with Akram Khan June Sun. 24th at 10:00 am place de l’Eglise June Sat. 30th at 11:00 am GRANDE LEÇON DE DANSE parvis de la médiathèque Jules Verne, with Fabrice Ramalingom rue Auguste Renoir --- FABRICE RAMALINGOM MONTFERRIER-SUR-LEZ A New Wild Blossom June Sat. 23rd at 10:00 am --- place du marché, place des Grèses SAUSSAN GRANDE LEÇON DE DANSE July Mon. 02nd at 8:00 pm with Magali Millian and Romuald Luydlin parking du foyer rural, rue des pénitents (La Zampa) SYLVAIN HUC --- Gameboy MONTPELLIER --- June Sat. 23rd at 4:00 pm SUSSARGUES Media library Emile Zola June Sat. 30th at 7:30 pm DANS LES PAS DE TRISHA BROWN place du 14 juillet, route de Montpellier GLACIAL DECOY À L’OPÉRA FABRICE RAMALINGOM A movie by Marie-Hélène Rebois (2016, 1h20) A New Wild Blossom --- VENDARGUES July Sun. 1st at 8:00 pm place Espartinas, avenue de la gare SYLVAIN HUC Gameboy 62

OPEN CLASSES

from SAT. 23rd JUNE to FRI. 06th JULY from 10:00 am to 11:00 am ON THE SQUARES OF MONTPELLIER AND METROPOLIS CITIES

FREE ENTRANCE

© Montpellier Danse 63

This event has become a Festival must, a rare moment of sharing between an artist and dance enthusiasts living in Montpellier. Every morning, for an hour, a guest artist at the 38th Festival will give a master class in dance.

No background in dance is required to take part. These dance lessons are for beginners of all ages! Just bring comfortable shoes and follow in the footsteps of choreographers and their dancers.

June Sat. 23rd June Thu. 28th MONTPELLIER MONTPELLIER place du Nombre d’Or parc Tastavin JACOPO GODANI MICHÈLE MURRAY DRESDEN FRANKFURT DANCE COMPANY th Givne by Julian Nicosia, ballet master and Luisa June Fri. 29 Sancho Escanero, artistic coordinator MONTPELLIER place du marché aux fleurs June Sat. 23rd AURÉLIEN BORY MONTFERRIER-SUR-LEZ place du marché June Sat. 30th MAGALI MILIAN & MONTPELLIER ROMUALD LUYDLIN place Dionysos La Zampa JOSE CARLOS MARTINEZ Compañia Nacional de Danza June Sun. 24th Given by Agnès Lopez, dancer, MONTAUD in the presence of Jose Carlos Martinez place de l’église nd FABRICE RAMALINGOM July Mon. 02 MONTPELLIER June Mon. 25th parc Rimbaud MONTPELLIER PAULA PI parc de la guirlande rd CAMILLE DECOURTYE & July Tue. 03 MONTPELLIER BLAÏ MATEU TRIAS parvis Buren du Musée Fabre Baro d’evel PHIA MÉNARD June Tue. 26th July Wed. 04th MONTPELLIER MONTPELLIER parvis de la mairie, place Georges Frêche parvis de la mairie, place Georges Frêche MOURAD MERZOUKI & KADER ATTOU AND THE DANCERS OF DANSER CASA KADER BELARBI Ballet du Capitole June Wed. 27th July Thu. 05th MONTPELLIER MONTPELLIER esplanade de la musique parvis du Pavillon Populaire SYLVAIN HUC AND THE DANCERS OF GAMEBOY MAUD LE PLADEC Given by a dancer from the company

July Fri. 06th MONTPELLIER parc Clémenceau MATHIEU DESSEIGNE-RAVEL 64

FESTIVAL VENUES

AGORA, CITÉ AT THE METROPOLIS IN THE MEDIA INTERNATIONALE LIBRAIRIES DE LA DANSE

Tramway line 1 & 4 . Baillargues, . Parc de la guirlande Emile Zola Cental media Louis Blanc stop Espace Vigneron rue Ronsard, library in Montpellier rue du jeu de ballons Tramway line 3, 240 Rue de l’Acropole Montpellier Danse . Fabrègues, Plan des fêtes plan Cabanes stop Tramway line 1 & 4 Booking office rue Jeanne d’Arc or Bus n°11 Place de l’Europe stop Salle Béjart . Juvignac . Esplanade de la musique Studio Cunningham place du soleil Tramway line 2, Albert Camus Media rd Entrance 18 rue Sainte end of the 3 tramway line Beaux-Arts stop library in Clapiers Ursule . Montaud . Parc Tastavin 12, rue Charles de Gaulle place de l’Eglise Tramway line 2 Bus n° 22, Théâtre de l’Agora / . Montferrier-sur-Lez Mas Drevon stop Médiathèque Albert Camus Foyer du Théâtre place des Grèses . Place du marché stop Entrance rue de l’Université (place du marché) aux fleurs . Pignan Tramway line 1 & 4, Françoise Giroud Media Studio Bagouet parc du château Louis Blanc stop library in Castries ICI - Centre avenue de l’Europe . Place Dionysos Avenue de la Coopérative chorégraphique national . Saint Jean-de-Védas Tramway line 1, Bus n°27, 31 and 112, Montpellier Occitanie / parvis de la médiathèque Place de l’Europe stop Centre stop Direction Christian Rizzo Jules Verne . Parc Rimbaud Entrance boulevard Louis rue Auguste Renoir Tramway line 2, Jean Giono Media library Blanc . Saussan, Les Aubes stop à Pérols Rue des Pénitents (Parking . parvis Buren du 30, rue Gaston Bazille OPÉRA BERLIOZ / du foyer municipal) Musée Fabre Tramway line 3 LE CORUM . Sussargues Tramway line 1, 2 & 4 Pérols Centre stop Esplanade Charles de Gaulle place du 14 juillet Corum stop à Montpellier route de Montpellier or tramway line 1 & 2 Jules Verne Media library Tramway line 1, 2 & 4 . Vendargues Comédie stop in Saint Jean-de-Védas Corum stop place Espartinas . Parvis du Pavillon rue Auguste Renoir avenue de la gare Populaire Tramway line 2 OPÉRA COMÉDIE esplanade Charles End of the line Saint Place de la Comédie à AT MONTPELLIER de Gaulle, Jean-de-Védas Centre Montpellier Tramway line 1, 2 & 4 Tramway line 1 & 2 . Parvis de la mairie, Corum stop La Gare Media library Comédie stop place Georges Frêche or tramway line 1 & 2 in Pignan Tramway line 1 & 3 Comédie stop Avenue du Grand Jeu hTh/ GRAMMONT Moularès stop . Parc Clémenceau Domaine de Grammont Tramway line 4, Tramway line 3 & 4, Tramway line 1 Georges Frêche - Hôtel de Saint-Denis stop Get off at Place de France Ville stop stop then take the hTh . Place du Nombre d’Or shuttle bus Tramway line 1, Antigone stop THÉÂTRE LA VIGNETTE Rue du Val de Montferrand Tramway line 1 get off at Saint-Eloi stop then follow the signs towards the theater 65

TICKETS SALES AGORA CARD

BOOKING OPEN HOURS SEEING MORE FROM 19TH MARCH AT 9:30AM AND PAYING LESS

00 33 800 600 740 FOUR DIFFERENT CARDS THAT WILL GIVE YOU WWW.MONTPELLIERDANSE.COM ACCESS TO PREFERENTIAL PRICES.

Montpellier Danse By Internet AGORA SOLO CARD YOOT Agora, cité internationale www.montpellierdanse.com For 15€, get 30% reduction in The YOOT card is available for de la danse Learn more about 1st or 2nd range. students under 31 years old and 18 rue Sainte-Ursule performances, watch videos, delivered by CROUS. It grants a CS 39520 read artists interviews and book AGORA DUO CARD preferential rate at 5€ for all the 34961 Montpellier Cedex 2 your tickets. Online payment is For 25€, get 30% reduction for performances. secured. two tickets in 1st or 2nd range. More information at CROUS de Tramway line 1 & 4, Montpellier : 04 67 41 50 96 Louis Blanc stop Last minute tickets AGORA J+ CARD On performance site, 45 You are under 26 years old ? For REDUCED RATE Open from Monday to Friday minutes before the show, within 10€, get 5€ tickets all year*. The reduced rate is granted to from 9:30am to 12:30pm and the limit of the available seats. people under 30 years old, over from 2:00pm to 6:00pm AGORA +ET- CARD 60 years old or on minimum During festival period : Other ticketing venues For those on minimum wage. wage. Supporting documents everyday from 11:00am to You can book tickets at Fnac, For 10€, get 5€ tickets all year*. are required. 6:00pm Carrefour and Géant. You can also book tickets for almost all The Agora card is nominative GROUPS, WORKS CHOOSE AND BOOK performances at Montpellier’s and valid for 1 year at COUNCILS YOUR TICKETS tourist office. Montpellier Danse for Public relations service may both Season and Festival. help you organise your venue. OUR TEAM IS AT YOUR Payment conditions : Concerning Agora J+ and +et-, Booking office partner : ODY IT SERVICE TO HELP YOU Credit Cards (American seats are limited. Please, bring WITH YOUR CHOICES : Express, Visa, Eurocard and a passeport picture as well as Mastercard), cash, banking supporting documents when The Agora and others At the booking office : or post cheques (order to buying a Card. Festival’s venues are handicap at the Agora, cité internationale Montpellier Danse) and holiday accessible. Do not hesitate to de la danse vouchers. Possibility to pay in 3 With your Agora Card, get tell us about your visit so we 18 rue Sainte-Ursule cheques from 90€. access to private presentations can welcome you under the best CS 39520 and pre-sales ! Booking office possible conditions. 34961 Montpellier Cedex 2 COLLECTING TICKETS and phone reservation will be open from March 15th Tickets cannot be exchanged or refunded except in case of cancellation By phone At Montpellier Danse booking at 9:30am for Agora Card of the show. In that case, refund is 00 33 800 600 740, free call office, holders exclusively. operated within three month. Ticketing office opens only at at theAgora, cité internationale Modification of any sort in the program the opening hours. Concerning de la danse will not induce exchange nor refund. phone reservation, payment 18 rue Sainte-Ursule deadline is up to 4 days. Beyond CS 39520 this deadline, we cannot 34961 Montpellier Cedex 2 N° SIRET : 322 375 882 00055 APE 9001Z guarantee it anymore. N° Licences 2-1041886 et 3-1041887 Beware, from June 15th, only Directly at the performance credit card payments will be venue, *within the limit of available accepted. from 45 minutes before the seats show. JUNE 2018

Free entrance Fri. 22nd Sat. 23rd Sun. 24th Mon. 25th Tue. 26th Wed. 27th Thu. 28th Fri. 29th Sat. 30th Sun. st1 Mon. 02nd Tue. 03rd Wed. 04th Thu. 05th Fri. 06th Sat. 07th

Jacopo Godani Extinction of a Minor Species P. 10 8:00 pm 8:00 pm

OPÉRA BERLIOZ Akram Khan XENOS P. 22 8:00 pm 8:00 pm LE CORUM Compañia Nacional de Danza P. 40 8:00 pm 8:00 pm Une soirée avec Forsythe

Nederlands Dans Theater P. 52 8:00 pm 8:00 pm S. León & P. Lightfoot, M. Goecke, C.Pite

OPÉRA COMÉDIE Anne Teresa De Keersmaeker & Jean-Guihen Queyras Mitten wir im Leben sind P. 48 8:00 pm 8:00 pm 8:00 pm

Kader Attou & Mourad Merzouki P. 18 10:00 pm 10:00 pm 10:00 pm Danser Casa

THÉÂTRE DE Batsheva Dance Company P. 36 10:00 pm 10:00 pm 10:00 pm L'AGORA Marlene Monteiro Freitas Canine Jaunâtre 3

Maud Le Pladec Twenty-seven perspectives P. 44 10:00 pm 10:00 pm

La Zampa Far West P. 12 6:00 pm 8:00 pm

Aurélien Bory hTh / P. 26 8:00 pm 8:00 pm 8:00 pm aSH, pièce pour Shantala Shivalingappa GRAMMONT Ballet du Capitole P. 42 7:30 pm 7:30 pm Roy Assaf, Yasmeen Godder, Hillel Kogan

Sylvain Huc Sujets P. 16 6:00 pm 8:00 pm THÉÂTRE LA Baro d’evel Là P. 34 8:00 pm 6:00 pm VIGNETTE

Naïf Production Des gens qui dansent P. 46 6:00 pm 8:00 pm

Sorour Darabi Savušun P. 14 4:00 pm 6:00 pm

Michèle Murray Atlas Etudes programme 1 P. 24 4:00 pm STUDIO BAGOUET Michèle Murray Atlas Etudes programme 2 P. 24 10:00 pm AGORA Paula Pi Alexandre P. 38 6:00 pm 6:00 pm

Phia Ménard Contes immoraux Partie 1 - Maison Mère P. 50 6:00 pm 6:00 pm

SALLE BÉJART / Exposition / Installation 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - P. 20 AGORA Trisha Brown, une Américaine à Montpellier 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm

IN THE STREETS OF MONTPELLIER Open Classes P. 62 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 10:00 am

11:00 am Saint-Jean- 6:30 pm 8:00 pm 8:00 pm de-Védas Fabrice Ramalingom A New Wild Blossom P. 57 Montpellier Baillargues Fabrègues 7:30 pm Sussargues

11:00 am Pignan Sylvain Huc Gameboy P. 57 8:00 pm 6:00 pm 8:00 pm IN THE CITIES OF 8:00 pm Saussan Montpellier Juvignac THE METROPOLIS Vendargues

10:00 am Montferrier- 10:00 am Open Classes P. 62 Montaud sur-Lez

3:00 pm 6:00 pm Pérols 4:00 pm Saint-Jean- 3:00 pm 6:00 pm 5:00 pm Cinema in the media librairies P. 58 Montpellier Clapiers Pignan Clapiers de-Védas 5:00 pm Castries

Fri. 22nd Sat. 23rd Sun. 24th Mon. 25th Tue. 26th Wed. 27th Thu. 28th Fri. 29th Sat. 30th Sun. 1st Mon. 2nd0 Tue. 03rd Wed. 04th Thu. 05th Fri. 06th Sat. 07th JULY 2018

Fri. 22nd Sat. 23rd Sun. 24th Mon. 25th Tue. 26th Wed. 27th Thu. 28th Fri. 29th Sat. 30th Sun. st1 Mon. 02nd Tue. 03rd Wed. 04th Thu. 05th Fri. 06th Sat. 07th

Jacopo Godani Extinction of a Minor Species P. 10 8:00 pm 8:00 pm

OPÉRA BERLIOZ Akram Khan XENOS P. 22 8:00 pm 8:00 pm LE CORUM Compañia Nacional de Danza P. 40 8:00 pm 8:00 pm Une soirée avec Forsythe

Nederlands Dans Theater P. 52 8:00 pm 8:00 pm S. León & P. Lightfoot, M. Goecke, C.Pite

OPÉRA COMÉDIE Anne Teresa De Keersmaeker & Jean-Guihen Queyras Mitten wir im Leben sind P. 48 8:00 pm 8:00 pm 8:00 pm

Kader Attou & Mourad Merzouki P. 18 10:00 pm 10:00 pm 10:00 pm Danser Casa

THÉÂTRE DE Batsheva Dance Company P. 36 10:00 pm 10:00 pm 10:00 pm L'AGORA Marlene Monteiro Freitas Canine Jaunâtre 3

Maud Le Pladec Twenty-seven perspectives P. 44 10:00 pm 10:00 pm

La Zampa Far West P. 12 6:00 pm 8:00 pm

Aurélien Bory hTh / P. 26 8:00 pm 8:00 pm 8:00 pm aSH, pièce pour Shantala Shivalingappa GRAMMONT Ballet du Capitole P. 42 7:30 pm 7:30 pm Roy Assaf, Yasmeen Godder, Hillel Kogan

Sylvain Huc Sujets P. 16 6:00 pm 8:00 pm THÉÂTRE LA Baro d’evel Là P. 34 8:00 pm 6:00 pm VIGNETTE

Naïf Production Des gens qui dansent P. 46 6:00 pm 8:00 pm

Sorour Darabi Savušun P. 14 4:00 pm 6:00 pm

Michèle Murray Atlas Etudes programme 1 P. 24 4:00 pm STUDIO BAGOUET Michèle Murray Atlas Etudes programme 2 P. 24 10:00 pm AGORA Paula Pi Alexandre P. 38 6:00 pm 6:00 pm

Phia Ménard Contes immoraux Partie 1 - Maison Mère P. 50 6:00 pm 6:00 pm

SALLE BÉJART / Exposition / Installation 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - 12 pm - P. 20 AGORA Trisha Brown, une Américaine à Montpellier 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm 6 pm

IN THE STREETS OF MONTPELLIER Open Classes P. 62 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 10:00 am

11:00 am Saint-Jean- 6:30 pm 8:00 pm 8:00 pm de-Védas Fabrice Ramalingom A New Wild Blossom P. 57 Montpellier Baillargues Fabrègues 7:30 pm Sussargues

11:00 am Pignan Sylvain Huc Gameboy P. 57 8:00 pm 6:00 pm 8:00 pm IN THE CITIES OF 8:00 pm Saussan Montpellier Juvignac THE METROPOLIS Vendargues

10:00 am Montferrier- 10:00 am Open Classes P. 62 Montaud sur-Lez

3:00 pm 6:00 pm Pérols 4:00 pm Saint-Jean- 3:00 pm 6:00 pm 5:00 pm Cinema in the media librairies P. 58 Montpellier Clapiers Pignan Clapiers de-Védas 5:00 pm Castries

Fri. 22nd Sat. 23rd Sun. 24th Mon. 25th Tue. 26th Wed. 27th Thu. 28th Fri. 29th Sat. 30th Sun. 1st Mon. 2nd0 Tue. 03rd Wed. 04th Thu. 05th Fri. 06th Sat. 07th 68

38th FESTIVAL PARTNERS

Montpellier Danse is supported by

Sponsors

Entreprises

Press partners FI_Trapenard_Tous Formats.indd 27 Augustin fait son

Augustin Trapenard essant 08/02/2018 13:55

Crédit photo : Christophe Abramowitz 70

FESTIVAL MONTPELLIER DANSE 2018 DIRECTOR : JEAN-PAUL MONTANARI

Founders : Georges Frêche (1938-2010), MONTPELLIER DANSE Ticketing Dominique Bagouet founder of the Festival with 2018 TEAM WORK Romain Prélot (07 40) and Georges Frêche Dominique Bagouet [email protected] (1951-1992). To reach us by phone, please dial — 00 33 4 67 60 followed by the 4 Metropolis Public Relations Agora, cité internationale Under the chairmanship of numbers between brackets. Coordinator de la danse, Michel Miaille then of Patrick Sophie Luchaire (06 13) 18 rue Sainte-Ursule Malavieille (from May 2018), Director [email protected] CS 39520 the Board of Directors consists Jean-Paul Montanari (83 60) 34961 Montpellier Cedex 2 of Montpellier Méditerranée [email protected] Students Public Relations Métropole’s representatives Coordinator Administration : Bernard Travier, Isabelle Deputy director Alexis Ruiz-Salmeron (06 15) T : 00 33 4 67 60 83 60 Marsala, Guy Barral, Maud Gisèle Depuccio (07 43) [email protected] [email protected] Bodkin, Rosy Buono, Jackie [email protected] Booking : 0 800 600 740 free Galabrun Boulbes, Secretary call Jean-Luc Savy, Françoise Administration Naomie Eguienta (83 60) www.montpellierdanse.com Debernard, Yves Larbiou, Mireille Jouvenel (07 48) [email protected] N° SIRET : 322 375 882 00055 APE 9001Z / Montpellier City’s [email protected] N° Licences 2-1041886 et 3-1041887 representative Sonia Front House Coordinator Kerangueven, Henri de Accountant Jean-Gabriel Lubac-Lanson — Verbizier, Nicole Liza, Linda Bonfini (07 46) (07 45) Main partner : Montpellier Conseil régional Occitanie’s [email protected] [email protected] Méditerranée Métropole representatives Dominique Our thanks for the Salomon, Christian Dupraz Technic manager Janitor financial support goes to and State’s representatives Didier Estrade (07 47) Malika Talmat Conseil régional Occitanie / Régine Hatchondo, Laurent [email protected] Pyrénées-Méditerranée, to Roturier, Nathalie Piat. the Ministère de la culture et Technic manager assistant — de la communication, to the Jean-Claude Kpoton (07 44) And all the interns, technical Direction régionale des affaires — [email protected] and reception team. culturelles Occitanie, as well as Executive director : the Fondation BNP Paribas Jean-Paul Montanari Secretary General © Montpellier Danse 2018 Anne-Sophie Aamodt (07 41) all rights reserved Cover : [email protected] Photo : © Rahi Rezvani. Nederlands Dans Theater, Safe Communication Manager as Houses (2001) by Sol León & Nathalie Becquet (06 11) Paul Lightfoot, dancers : Sarah [email protected] Reynolds, Marne van Opstal Communication and press Graphic design : assistant Les Produits de l’épicerie (Lille) Emma Poignet (08 88) communication@ Programme subjected to changes. montpellierdanse.com Non-contractual pictures. Press and professionals Edition Manager Interviews were conducted by Maïwenn Rebours (06 12) Nathalie Becquet and Maïwenn [email protected] Rebours Press assistant Clara Kahané (06 10) [email protected]

Professionals assistant Maryne Blain (07 49) [email protected] THE 38th FESTIVAL IN IMAGES

You can watch the 38th Festival Montpellier Danse teaser on www.montpellierdanse.com with severals interviews of artistes.

You can also watch this teaser at the ticket office in the Agora or at the Montpellier Tourist Office. - JOIN US ! #montpellierdanse

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0800 600 740 WWW.MONTPELLIERDANSE.COM

— PRESS CONTACTS

Regional and International press Maïwenn Rebours : T : +33 4 67 60 06 12, [email protected] assisted by Clara Kahané : 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] montpellierdanse.com 0800 600 740 #montpellierdanse