In over 30 years of creation, Raimund Hoghe has never ceased to transcend the beauty of simple things. Ornella Balestra, Takashi Ueno, Emmanuel Eggermont and Luca Giacomo Schulte, who have worked closely with the choreographer, revisit these materials to share the themes that are dear to Raimund Hoghe, the great classics (Ravel’s Bolero, Swan Lake…) and more topical subjects such as the migrant crisis… Rather than melancholy, Simple Things opens up a privileged path of access to this artistic universe that is as singular as it is necessary.
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
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 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. Lagraa’s 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, reminiscent of the power of the Mediterranean Sea that unites the Maghreb and Europe.
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
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.
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 May 16th – 17th, 2025 FITEI, Porto May 24th, 2025 Spring Performing Arts Festival, Utrecht May 29th, 2025 Mittenmang Festival, Bremen June 4th – 7th, 2025 Rising Festival, Melbourne 90 minutes
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).
