Échelle Humaine

Archive 2019
Dance
Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 16
Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 18 – 19
Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 21 – 22
Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 21 – 22

© Ivana Müller © Marc Domage ©

© Jan Martens © Marc Domage ©

© Trajal Harrell © Marc Domage ©

© Yasmine Hugonnet © Marc Domage ©

© Yves-Noël Genod © Marc Domage ©

1/5

Se sentir vivant :
Concept, text, and interpretation by Yasmine Hugonnet
Produced by Arts Mouvementés
Coproduced by Arsenic – Centre d’art scénique contemporain (Lausanne)
We Are Still Watching :
Concept and text by Ivana Müller
Artistic collaboration, Andrea Božić, David Weber-Krebs, and Jonas Rutgeerts
Produced by I’M COMPANY
Sweat Baby Sweat :
Choreography, Jan Martens
With Kimmy Ligtvoet, Steven Michel
Music, Jaap Van Keulen
Produced by Frascati
In association with ICKamsterdam ; TAKT Dommelhof (Neerpelt) ; and JAN vzw (Cortenbergh)
Hors-Champ :
Concept, Ivana Müller
Texts, Ivana Müller
Artistic collaboration, Julien Lacroix, and Anne Lenglet
Produced by I’M COMPANY
Dancer of the Year :
Choreography, performed, sound and costumes by Trajal Harrell
Dramaturgy, Sara Jansen
Produced by Kunstenfestivaldesarts (Brussels)
Coproduced by Impulstanz Festival (Vienna) ; Schauspielhaus Bochum ; BIT Teatergarasjen (Bergen) ; Lafayette Anticipations (Paris) ; and Festival d’Automne à Paris
Yves Noël Genod dira au moins une phrase de Merce Cunningham (et peut-être un peu plus) :
Conceived and performed by Yves-Noël Genod
Produced by Le Dispariteur

For its second edition, the Lafayette Anticipations Échelle Humaine festival takes its title at face value. From the individual body to the collective body, from the solo to the group, the transformable OMA/Rem Koolhaas building hosts six proposition. Together, they tell us much about what links us as human beings, and what relays us, weaving together dance and text, and experimenting with space and words via physical means.

Over the course of a week, discourse goes on the move.
The 16th of December, with Se sentir vivant, Yasmine Hugonnet addresses it via gesture, posture, gaze and the not altogether reassuring words of the ventriloquist. Ivana Müller, for her part, confers a script to spectators, who discover and read it together, giving rise to a provisory community which is suddenly confronted with the unexpected.
On the 18th and 19th of September, Sweat Baby Sweat, by Jan Martens, sees images slowly unfurling of a romantic duo. Attraction, aversion, vulnerability and physical might are suffused with lyrics and tunes from the world of pop.
The 21st and 22nd of September, with his new solo, Trajal Harrell examines this honorific title recently attributed to him by the magazine Tanz, the boomerang effect of which has been to prompt him to question what dance means for him. On these same dates in Yves-Noël Genod dira au moins une phrase de Merce Cunningham (et peut-être un peu plus), Yves-Noël Genod summons up the vibrant figure of Merce Cunningham in order to «go on about » dance, and try to write its impossible poem.
Lastly, during the two afternoons of the week-end (21-22 September), with Hors-Champ, Ivan Müller invites audiences to come into a tent with a stranger for a series of previously-written stories inspired by the universe of plants and gardens (free access).

In the same place

Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 20

Rabih Mroué
Make Me Stop Smoking

ConferenceTheatre Portrait

Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 21 – 22
Musée de l’Orangerie
octoberoct 14

Dalila Belaza
Figures (version performative)

Dance

In Figures, Dalila Belaza looks into the possibility of a universal rite, by inventing an imaginary traditional dance "without origin or territory" that links the present to eternity. This force takes possession of the body, echoing a heritage that each of us carries with us, often unconsciously.
Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 21

Rabih Mroué
The Inhabitants of Images

ConferenceTheatre Portrait

Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 22

Rabih Mroué
Sand in the Eyes

ConferenceTheatre Portrait

Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.