Tag: Orléans

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France

Samaa Wakim & Samar Haddad King – Losing It

January 23rd – 24th, 2025 Théâtre Orléans, Orléans
January 31st, 2025 Scène Nationale Aubusson, Aubusson
February 4th, 2025 L’empreinte, Tulle
February 7th – 12th, 2025 Théâtre de la Bastille, Paris
March 28th – 29th, 2025 Points communs, Cergy
April 1st – 2nd, 2025 La Coursive, La Rochelle
April 8th, 2025 Scène nationale du Sud-Aquitain, Saint-Jean-de-Luz
April 15th – 16th, 2025 Théâtre Auditorium de Poitiers, Poitiers
April 18th, 2025 Le Moulin du Roc, Niort
40 minutes

Between Fear and Hope

© Mohab Mohamed

What if you grew up in a war zone? How does that impact your identity?

“Can you still hear the bombs? I can hear them.”

What if you grew up in a war zone? How do you cope as a child when you are exposed to political conflict on a daily basis?

The choreographer and performer Samaa Wakim grew up in the occupied Palestinian territories. During this solo dance performance, she asks herself how these experiences impact her identity. Through movement and sound, she remembers her youth and the imaginary world she created in order to survive. Driven by her own sounds and live music by Samar Haddad King, she goes back and forth between fear and hope, between sounds that used to scare her and sounds that used to bring her comfort.

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Categories
Benelux France

Compagnie 111  / Aurélien Bory – invisibili

January 30th – 31st, 2025 Scène nationale d’Orléans, Orléans
February 18th – 19th, 2025 Montpellier Danse, Montpellier
April 2nd – 3rd, 2025 Les Théâtres de la Ville de Luxembourg, Luxembourg
70 minutes

Anthem to Life

© Rosellina Garbo

With his Compagnie 111, choreographer and director Aurélien Bory has carved a path as a visionary of spatial poetry and a virtuoso of stagecraft, receiving international acclaim for his mastery in blending diverse performance languages. His 2023 work invisibili is inspired by his encounter with the city of Palermo and The Triumph of Death, an anonymous fresco from the 15th century, in which death strikes everyone without distinction of class, rank, age, or gender. In Bory’s hands, the monumental mural becomes a mesmerising backdrop, wondrously integrated in a profound dialogue with the dancers on stage, where narratives of contemporary relevance, including the plight of migrants and the challenges of illness, take place. Far from being a macabre dance of death, invisibili offers a captivating anthem to life.

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Categories
Archive

Soa Ratsifandrihana – Fampitaha, fampita, fampitàna

September 18th – 22nd, 2024 MC93, Bobigny
October 3rd – 4th, 2024 Ballet national de Marseille, Marseille
November 20th, 2024 La Manufacture CDCN Nouvelle-Aquitaine, Bordeaux
December 10th, 2024 Théâtre d’Orléans, Orléans
90 minutes

A Young Talent to Follow

© Harilay Rabenjamina

Fampitaha, fampita, fampitàna – three Malagasy words that mean comparison, transmission and rivalry. In a score of abstract and figurative gestures, dancer and choreographer Soa Ratsifandrihana makes use of her own experience of diaspora and her Madagascan origins to tell us the kind of story she would have liked to have heard or seen as a child. Blending radio, musical and choreographic storytelling, the show plays with orality and movement, reminding us that our bodies, just like our words and sounds, are bearers of stories. Ratsifandrihana – who came to attention as a dancer in Rosas’ new version of Fase – drew inspiration from the words and stories she picked up on a recent trip to Madagascar. Joined by guitarist Joël Rabesolo and performers Audrey Merilus and Stanley Ollivier, she travels towards a form of wandering, exploring how several influences can lead to an unheard-of explosion of cultures like creolisation. Just as the change in accentuation between ‘fampitaha’, ‘fampita’ and ‘fampitàna’ alters the word’s meaning, the dancers glide from one state to another, seemingly following a constantly changing movement – or perhaps a form of creolisation.

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