Categories
France

Abou Lagraa – Carmen

November 30th – Dec. 1st, 2024 Forum am Schlosspark, Ludwigsburg
January 25th – 26th, 2025 Théâtre Suresnes Jean Vilar, Suresnes
January 28th, 2025 Théâtre Alexandre Dumas, Saint-Germain-en-Laye
January 30th, 2025 Le Manège Maubeuge, Maubeuge
February 2nd, 2025 Scènes & Cinés, Istres
February 4th, 2025 Grand Théâtre de Provence, Aix-en-Provence
February 7th, 2025 Le Carré, Sainte-Maxime
February 11th, 2025 Romans Scènes, Roman-sur-Isère
February 15th, 2025 Théâtre de Roanne, Roanne
February 18th – 21st, 2025 Maison de la Danse, Lyon
90 minutes

Carmen by
Tunis Opera Ballet

© David Bonnet

Georges Bizet’s “Carmen” is one of the most famous operas in the world. Still, in Tunisia, it was shown for the very first time in February 2024 – and then as a choreographic opera with the ballet ensemble at the Tunis Opera House. Abou Lagraa, the choreographer, has been working with North African artists for many years. As the child of Algerian and Egyptian parents, his dance roots are, for once, not in hip-hop, but in contemporary dance, including with S.O.A.P., Rui Horta’s legendary Frankfurt company.

In order to find his way back to the pure emotions that underlie the famous arias, Lagraa opted for a sparse, almost minimalist production. For him, the title character not only represents the idolized, teasing seductress, but above all freedom until death. Carmen is the romantic concept of an emancipated woman – a woman who poses a danger to men. Lagraas’ interpretation of the plot draws on the oriental perspective of the story. He deliberately portrays a Carmen of the nomads, the Berbers, and ancient North African people. The choreography oscillates in wave movements and is reminiscent of the power of the Mediterranean Sea that unites the Maghreb and Europe.

Categories
Benelux France

Amala Dianor – DUB

October 9th – 12th, 2024 Maison de la Danse, Lyon
November 20th – 21st, 2024 L’Empreinte, Brive-la-Gaillarde
November 24th, 2024 L’Archipel, Perpignan
December 11th – 14th, 2024 Théâtre de la Ville, Paris
December 18th, 2024 Le Corum, Montpellier
February 7th, 2025 Le Forum, Fréjus
February 11th – 12th, 2025 Les Théâtres de la Ville de Luxembourg, Luxembourg
60 minutes

A Melting Pot
of Urban Dance

© Pierre Gondard

In DUB, Amala Dianor explores how today’s globally connected youth has embraced the legacy of hip-hop culture to forge new choreographic identities. After travelling across continents seeking out the underground world of urban dance and delving into social media where movements are reimagined, extended, and exchanged, the iconic Franco-Senegalese artist has brought together talented dancers from diverse geographical backgrounds, each influenced by a plethora of aesthetics and encompassing different styles, from whacking and dancehall to jookin and pantsula. As they adapt their practices and blend their techniques to connect with each other, they create a space that’s even brighter and freer than their individual realms. Awir Leon’s live music and Grégoire Korganow’s evocative design contribute to the immersive, joyous atmosphere.


Categories
Mediterranea France

Marina Otero – Kill Me

September 25th – 29th, 2024 Théâtre du Rond-Point, Paris
October 3rd – 4th, 2024 HAU – Hebbel am Ufer, Berlin

October 19th – 20th, 2024 Staatstheater Mainz, Mainz
October 31st – November 2nd, 2024 VIDY, Lausanne
November 5th, 2024 L’onde – Théâtre et Center d’Art, Vélizy
November 12th, 2024 teatr polski (Festival Prapremier), Bydgoszcz
November 21st, 2024 Temporada Alta, Girona
March 19th – 23rd, 2025 dansa metropolitana, Barcelona
March 26th – 29th, 2025 Les Célestins, Lyon

90 minutes

The Third Chapter of a Poignant Lifelong Project

© Sofia Alazraki

Bringing together Bach and Miley Cyrus, she creates with “Kill Me” a complete and radical work, sometimes unsettling, sometimes subversive, but always impactful.

Olivier Frégaville-Gratian d’Amore

Kill me (2024) is the continuation of Love me (2022) and Fuck me (2020), in turn it is part of the project “ Remember to live ”, in which I intend to present different versions of works until the day of my death.

Entering into the cliché of the midlife crisis, I began to film everything I did: with my heart open 24 hours a day, I recorded everything. 

Until one day I collapsed, I was given a psychiatric diagnosis and I decided to make my next piece out of it. I called on four dancers with mental disorders and Nijinsky, to make a piece that talks about madness for love. 

But let’s say that the topic is about mental health so that it enters the inclusive agenda of the art market. 

Because that is my punishment, having to make works that sell and thus stay alive in the world (of theater).