Robyn Orlin

Walking Next to Our Shoes…Intoxicated by Strawberries and Cream, We Enter Continents Without Knocking…

Archive 2010
Dance
1/2

Walking Next to Our Shoes… Intoxicated by Strawberries and Cream,
We Enter Continents Without Knocking…

Choreography, Robyn Orlin
Choreography Assistant, Nhlanhla Mahlangu
Costumes, Birgit Neppl
Light, Robyn Orlin, Denis Hutchinson
Video, Philippe Laine
Staging Director, Gladman Balintulo
Video Operator, Thabo Pule
Tour Director, Denis Hutchinson
Sound Consultant, Boris Vukafovic
With Ann Masina, Vusumuzi Kunene, Nhlanhla Mahlangu, Thulani Zwane et Phuphuma Love Minus – Amos Bhengu, Busani Majozi, Jabulani Mcunu,
Mbongeleni Ngidi, Mbuyiseleni Myeza, Mlungiseleni Majozi, Mqapheleni Ngidi, Saziso Mvelase, Siyabonga Manyoni, S’yabonga Majozi

All costumes and props are 100% recyclable
Administration, Damien Valette
Coordination, Daniela Goeller
Coproduction City Theater & Dance Group ; Festival Banlieues Bleues ; Théâtre de Saint Quentin en Yvelines/Scène nationale ; Grand Théâtre du Luxembourg
Corealisation Théâtre de la Ville-Paris ; Festival d’Automne à Paris
With the help of Conseil général de Seine-Saint-Denis and Goethe Institut, Johannesburg
With the support of HenPhil Pillsbury Fund The Minneapolis Foundation & King’s Fountain
Thanks to M. Simon Ngubane and M. Adolphus Mbuyisa of the association Iphimbo Isica-thamiya where Phuphuma Love Minus stands

Robyn Orlin’s new work stems from her collaboration with “Phuphuma Love Minus”, a choir which perpetuates an a capella singing tradition, the Isicathamiya. She stages a concert which offers a reflection on urbanization and the social conditions of blacks in South Africa. On stage, shoes provide a humoristic metaphor for poverty and exile, as well as for dance and rhythm.

In the same place

Théâtre de la Ville – Sarah Bernhardt
septembersept 13 – 22

Anne Teresa De Keersmaeker, Radouan Mriziga / Rosas, A7LA5
Il Cimento dell’Armonia e dell’Inventione

Dance
Buy tickets

In collaboration with the choreographer and dancer Radouan Mriziga, the challenge taken up by Anne Teresa De Keersmaeker is to make Vivaldi's Four Seasons heard, using the tools of dance to hone the way we listen to this baroque masterpiece. Under the auspices of abstraction, the resulting alliance reconnects with the imaginary ecological world that is conjured up by this famous concerto.

Théâtre de la Ville – Sarah Bernhardt
septembersept 23 – 28

Rabih Mroué
Who’s Afraid of Representation?

Theatre Portrait
Buy tickets

We find ourselves in the company of major figures of European Body Art (Joseph Beuys, Orlan, Marina Abramović, to name a few) via their accounts of exhibitions and public scarifications dating back to the 1970s. In parallel with this runs the true story of a killing spree carried out by a Lebanese office at his workplace, and the fluctuating motivations for his acts.

Théâtre de la Ville – Sarah Bernhardt
octoberoct 3 – 5
Maison des Arts de Créteil
novembernov 6 – 7

Lola Arias
Los días afuera

Theatre
Buy tickets

At the crossroads between musical and documentary, Lola Arias brings us a choral composition in which six female former inmates talk about their lives during and after incarceration. Their six intertwining destinies raise questions about the various forms of violence present in contemporary society, whilst exploring the margins of fiction and reality at the same time.

Théâtre de la Ville – Sarah Bernhardt
novembernov 5 – 16

Robert Wilson
PESSOA – Since I've been me

Theatre
Buy tickets

The hero of this new work by Robert Wilson is Fernando Pessoa. And a paradoxical hero at that. The Portuguese poet spent his life 'multiplying himself', inventing heteronyms, or fictitious authors, to whom he attributed works he himself wrote. He even went as far as to invent relationships, either amicable ones or from master to disciple, between his different avatars.

Théâtre de la Ville – Sarah Bernhardt
novembernov 19 – 23

Jan Martens
VOICE NOISE

Dance
Buy tickets

In this breakthrough piece for Jan Martens, VOICE NOISE brings together six dancers to shape a soundscape comprising some of the great female performers and composers of our time. In his own pop-inspired and precise way, the choreographer questions a very contemporary story, and in doing so raises the question of how some of these voices were silenced.