Tag: Paris

Categories
DACH region

Thomas Hauert – Troglodyte

March 28th – 30th, 2025 Festival dansa metropolitana, Barcelona
November 17th, 2025 TANZINOLTEN, Olten
April 3rd – 4th, 2026 Théâtre de la Cité internationale, Paris
April 14th, 2026 Le 140, Brussels
60 minutes

A Solo for Himself

© Olivier Miche

In his new solo, Thomas Hauert intends to deepen a creative process already present in his last two creations: making psychology, inner life, emotions and the unconscious a driving force behind movement. The starting point for Troglodyte is a kind of complex psychological enigma, expressed in the working title and subtitle of the solo Zaungast/Zaunkönig, focusing on the experience of the position of the outsider, the one who is not part of the group, the one who looks on from the outside. Zaungast is a German word that describes someone who attends an event to which they were not invited, behind the fence (literally: “guest of the fence”). Zaunkönig, literally “king of the fence”, is the German name for the wren, a small songbird. Tiny but kingly at the same time, it is imagined on the fence, ‘staying on the fence’, in the figurative sense of someone who does not take a stand, does not make up their mind and does not commit themselves accordingly.

The word troglodyte originally refers to a living creature that inhabits a cave or dwelling dug into the ground, like the little bird Zaunkönig/troglodyte. The term Troglodyte also sounds like an insult, one associated with the “Cave Man”, the boorish, uneducated, coarse man.

find out more
Categories
Archive

Alain Platel – Out of Context – for Pina

April 7th – 9th, 2025, Centquatre-Paris, Paris
85 minutes

A 2010 Masterpiece

© Christophe Raynaud de Lage

In Out Of Context, director Alain Platel continues his search for a language of movement connected to the unconscious, the arbitrary, the uncontrolled.

The movement material covers the entire range of dyskinesia and dystonia, in other words: spasms, convulsions, tics. These can be very small mouth movements, teeth chattering, sticking out the tongue, eyes blinking, frowning, grimacing, moving the fingers as though they are playing the piano, briefly jerking the limbs, torso, pelvis or head, jolting the abdomen or diaphragm, balance impairment, falling over and a whole repertoire of silly walks.

Small tics swiftly alternate with big swings. Restlessly and nervously. Platel has long resisted the label ‘choreographer’, but still arrives at this term in another way. ‘Chorea’ is a medical term referring to an affected nervous system, the symptoms of which are jerky movements and poor coordination.

Ultimately, Platel goes back to his past as a special needs educator working with children with motor and multiple disabilities where he discovered the beauty of the malformed, the emotional power of the misshapen.

Extracted text written by Hildegard De Vuyst, Dramaturge (January 2010)

get your ticket
Categories
Archive

Eszter Salamon – MONUMENT 0.10: The Living Monument

February 20th – 22nd, 2025 Théâtre National Wallonie-Bruxelles, Brussels
March 26th – 28th, 2025 Chaillot / Théâtre de la Ville, Paris
135 minutes

A Dreamlike Journey

© Øystein Haara/ Carte Blanche

Monuments are cold, static, soundless; human bodies are warm, breathing, chanting. Carte Blanche’s new performance is undoubtedly both long and remarkable.

Springback Magazine

in collaboration with Carte Blanche – the Norwegian National Company of Contemporary Dance and composer Carmen Villain

The Living Monument unfolds worlds that have their own logic. It is a dreamlike journey, at times a beautiful nightmare, playing with duration and space like a landscape in which slowness creates its own music. Shifting sceneries, inhabited by fictional figures, reveal images and sensations which evoke glimpses of memories, fragments of narrations and futuristic visions.

Developed together with fourteen performers, the choreography is created from bodies, fabrics and objects, which continuously transform and reconfigure to form new physical, mental and visual environments. Guided by the ecological principle of recycling, materials and voices are reused and reshaped. Songs blend with natural, instrumental and digital sounds. Bodies are hidden or exposed, figures appear only to transform. Voices intermingle, they stir up sensations and carry stories that anyone can inhabit.

FINd out more
Categories
Americas France

Malandain Ballet Biarritz – The Seasons

February 5th – 15th, 2025 Le 13eme Art, Paris
February 25th, 2025 Quai 9, Lanester
February 27th – 28th, 2025 Théâtre Impérial, Compiègne
March 11th – 12th, 2025 Les Théâtres, Aix-en-Provence
April 26th – 27th, 2025 Detroit Opera, Detroit
April 29th, 2025 Wharton Center for Performing Arts, East Lansing
May 2nd – 3rd, 2025 Zellerbach Theater, Philadelphia
May 7th, 2025 Byham Theater, Pittsburgh
May 20th – 23rd, 2025 Gare du Midi, Biarritz
60 minutes

When Vivaldi Meets Guido

© Stephane Bellocq

The dance carries everything, from the joy of spring to the passions of summer…just a splendid invitation to meditate on the beauty of life and the passage of time.

Ariane Bavelier (Le Figaro)

Malandain Ballet Biarritz has become one of the most important companies of the French choreographic landscape. This original production combines Antonio Vivaldi’s Four Seasons and the little-known works of his contemporary and compatriot Giovanni Antonio Guido. Guido’s Seasons awakens memories of belle danse (baroque dance) in the 17th century, which emerged from the ideal of governing one’s body and mind, and moving with grace, accuracy, and lightness. With Vivaldi’s Four Seasons, dancers are moved by a more natural, more human form of dance.

FIND OUT MORE
Categories
DACH region

Christos Papadopoulos / DANCE ON ENSEMBLE – Mellowing

February 1st, 2025 Tanzbiennale Heidelberg, Heidelberg
March 17th, 2025 dFERIA, San Sebastián
March 20th – 22nd, 2025 Le CENTQUATRE, Paris
April 12th, 2025 Osterfestival Tirol, Innsbruck
July 1st – 2nd, 2025 COLOURS International Dance Festival, Stuttgart
55 minutes

Harmony, Precision, Cohesion

© Jubal Battisti

A body that is outwardly still and inwardly vibrating – what processes does the energy undergo before it breaks through? How does it change when the body matures?

In his new production Mellowing, Christos Papadopoulos embarks on his inaugural collaboration with the dancers of the Dance On Ensemble. Together they create a lively restlessness, a permanent vibration in which the spectator is inevitably involved.

Christos Papadopoulos’ works are fed by an intensely observant approach to movement and often unfold a lively and meditative power. His attention is focused on the minimal shifts of perception, the perpetual, often unnoticed and yet powerful movements that are ever-present in nature, in everyday life, within physical phenomena and political contexts.

FInd out more
Categories
Archive

Jin Xing Dance Theatre Shanghai – Trinity/Wild Flower

February 27th – March 2nd, 2025 Théâtre des Champs-Élysées, Paris

Double Program
Trinity (February 27th/28th)
Wild Flower (March 1st/2nd)

Between East and West

© Jin Xing Dance Theatre

The Jin Xing Dance Theatre was formed in the heart of communist China in 1999 by its founder Jin Xing. At Paris’s Théâtre des Champs-Elysées the company will present four choreographic creations by three choreographers of different origins.

Sacre by Emanuel Gat

Sacre is revisited version of Emanuel Gat’s 2004 creation. It takes apart the mechanics of Cuban salsa dancing and creates a complex and dramaturgically charged choreographic score. A free spirited reading of Stravinsky’s masterpiece, Sac offers no notions of sacrifice, but a multitude of options for action.

Echo by Moya Michael

Echo is Moya Michael’s 2013 creation for 7 female dancers with sound arrangement by Anyal Zhang. The focal point of this piece is a group of women, occupying space. Each woman has an individual story intertwining with the group, yet each woman has her own voice. This is not a form of isolation. Recognition is placed on the female gaze and specifically on how change can be experienced through each of their lives. This perspective gives them a greater sense of how they relate to other women and to society as a whole. Their stories echo and their lives reflect similar struggles. They can empower themselves by being true to who they are and by uniting with each other as group. This is a shortened version of the original work.

Cage Birds by Arthur Kuggeleyn

Cage Birds’ energetic and physically demanding choreography for 12 dancers to Christian Meyer’s hypnotic music. Kuggeleyn uses his trade mark TransDance technique gradually enfold the inner dynamic of the group of performers. Like caged birds the dancers move in their cramped confines. With his creation, Kuggeleyn provides an ironical metaphor of modern life as well as an impressive dance performance.

Wild Flower by Arthur Kuggeleyn

Everyone has a fierce and unique wild flower, which can break free from all kinds of shackles, stand out among the dull, and be graceful within constraints. Known for his emotionally charged psychedelic style, Dutch choreographer Arthur Kuggeleyn created Wild Flower for the company. In it, dancers interpret wild flowers through marathon-esque non-stop dancing and movement, triggering off an explosion of long held emotions.

Get your ticket
Categories
DACH region

Emanuel Gat – Freedom Sonata

January 22nd – 23rd, 2025 Opéra Berlioz / Le Corum, Montpellier
March 7th – 8th, 2025 Berliner Festspiele, Berlin
March 17th – 21st, 2025 Théâtre de la Ville, Paris
May 3rd, 2025 Festspielhaus Bregenz, Bregenz
85 minutes

Movements from Beethoven to Kanye West

© Julia Gat

Freedom Sonata is a free, contemporary take on the classic musical sonata form, evolving through three distinct choreographic movements. 

The soundtrack is a juxtaposition of two musical sources: Kanye West’s 2016 album The Life Of Pablo and L. V. Beethoven’s second movement from his last sonata #32. Played by Mitsuko Ushida and recorded in 2006. 

‘Freedom Sonata’ is yet another chapter in a continuous study into the ways in which groups/individuals behave, function and strive to find a state of balance and fulfillment. It is a manner of looking at the way society organizes itself in different contexts and exploring possible alternative models. 

‘Freedom’, the term and concept, is probably the most abused, misused and misunderstood word that exists. The truth is that nothing is easier than stripping people down from any sort of freedom, liberty or natural right. Choreography can serve as a space to examine how to solve the internal tension between the individual and the collective. When asked if my work is political, I answer that my work is not political, but the way in which I work, IS.

If I look at my work from an anthropological angle, as in a process of actively examining questions such as: models for groups organisation, governance modalities and political structures, economic models, resources management and so on, the way I would define it then would be something like: 

A commitment, through a choreographic practice, to the idea that it can be possible to have a society based on principles of self organization, voluntary association and mutual aid. 

Decentralizing the conventional hierarchies between choreographer and dancers, rethinking the distribution of power and responsibilities, defining what choreography/dance can change the established paradigms by placing individual freedom at the center of dance making, are the most valuable strategies through which dance can become a relevant force in pointing out societal anomalies and proposing alternatives.

FIND OUT MORE
Categories
UK/Ireland France

Oona Doherty – Specky Clark

February 6th – 7th, 2025 Kunstencentrum VIERNULVIER, Ghent
March 7th, 2025 Festspielhaus St. Pölten, St. Pölten
April 24th – 25th, 2025 Lieu Unique, Nantes
May 9th – 10th, 2025 Sadler’s Wells, London
May 14th – 17th, 2025 Dublin Dance Festival, Dublin
June 24th – 27th, 2025 Théâtre de la Ville, Paris
120 minutes

Meat, Sorrow and Irish Sounds

© Luca Truffarelli

Part fiction, part biographical, all elements are overlapping, and it will become difficult to determine what’s myth and what’s reality. 

It goes back to a time when families worked in the abattoirs of Belfast. Pigs in the garden of New lodge.

There’s something in the meat of me, bloodline, there is a pink fleshy vulnerability to me, to dancing, there is a violence in me.

This new show will follow the story of Oona’s Great Great Grandfather Specky Clark and his arrival in Belfast.

For this piece which will be unfolding in a series of theatrical images, Oona Doherty will collaborate with many faithful and new partners. The production features music from Irish band Lankum, Gavino Murgia and David Holmes & Raven Violet. Maxime Jerry Fraisse is sound designer, Irish playwright Enda Walsh is dramaturg, Sabine Dargent is set designer, Darius Dolatyari-Dolatdoust is costume designer and long-time collaborator John Gunning is lighting designer. The piece will be performed by an international cast of 9 dancers.

FIND OUT MORE
Categories
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 11th – 12th, 2025 TNC, Barcelona
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.

FIND OUT MORE
Categories
France

Emmanuel Eggermont – About Love and Death

January 20th – 21st, 2025 Théâtre de la Cité Internationale, Paris
March 12th – 13th, 2025 Le Gymnase CDCN de Roubaix, Roubaix
April 2nd – 3rd, 2025 CCAM, Vandoeuvre
April 23rd – 24th, 2025 Pôle Sud CDCN Strasbourg, Strasbourg
75 minutes

Elegy for Raimund Hoghe

© Jihyé Jung

As a true danced elegy, this piece questions lineage in the choreographic field through the prism of over fifteen years of collaboration with the German choreographer Raimund Hoghe, who passed away in 2021. Aiming to shine a light on how this generation of creators continues to influence us, Emmanuel Eggermont revisits fragments of pieces woven from moments suspended in time, in which love and death act in the background, articulating them with other personal materials in order to imagine new writings.

In About Love and Death, it is both the iconographic and musical palette of Raimund Hoghe and the living kinesthesia of the imagination of Emmanuel Eggermont that are expressed. From fantasy of a fantasized fauna to the comical elegance of a Gene Kelly dancing in the rain by way of the syncopated energy of a Josephine Baker, this danced medley is accompanied by new sequences that multiply evocations, leading up to the incarnation of the ghost of Raimund Hoghe himself.

The ramified writing of this elegy-toned collection reveals an entire panel of references offering to all audiences, particularly those experiencing it for the first time, a path to access this unique and necessary universe in the panorama of the history of dance.

FIND OUT MORE
en English▼
nl Dutchen Englishfr Frenchde Germanel Greekit Italianpt Portuguesees Spanishtr Turkish