Latifa Laâbissi
White Dog
© Nadia Lauro ©
© Nadia Lauro ©
© Nadia Lauro ©
Concept, Latifa Laâbissi
With Jessicat Batut, Volmir Cordeiro, Sophiatou Kossoko, and Latifa Laâbissi
Conception of the scenography, Nadia Lauro
Sound creation, Manuel Coursin
Lighting creation, Leticia Skrycky
Collaboration, Isabelle Launay
Scenography construction, Les ateliers de Nanterre-Amandiers, Marie Maresca et Jérôme Chrétien
Production, Fanny Virelizier
Administration, Marie Cherfils
Produced by Figure Project
Coproduced by Le Festival de Marseille ; CCN2 – Centre chorégraphique national de Grenoble ; Le Triangle – scène conventionnée danse (Rennes) ; Le Quartz – scène nationale de Brest ; Théâtre National de Bretagne (Rennes) ; CCNR – Centre chorégraphique national de Rilleux-la-Pape ; L’Échangeur – CDCN – Hauts-de-France (Château-Thierry) ; Opéra de Lille ; Le Vivat (Armentières) ; Nanterre-Amandiers, centre dramatique national ; Les Spectacles vivants – Centre Pompidou (Paris) ; and Festival d’Automne à Paris
In association with Les Spectacles Vivants – Centre Pompidou (Paris) ; and Festival d’Automne à Paris
With support from Institut Français, Ville de Rennes, Rennes Métropole and CONSTELLATIONS – international network of choreographic residencies
With support from Spedidam
First performed on the 5th July 2019 at Théâtre Joliette, as part of the Festival de Marseille
Reflecting her interest in gender mixity and the diversity of individuals, the dance that Latifa Laâbissi invents is one of identities in the making. It fuses them with elements of the collective imagination, incorporated in a subconscious way. Driven by the power of laughter, her choreography assimilates them freely at will, like a whirlwind of gestures and signs imbibed with boundless energy.
In the eyes of Latifa Laâbissi, dance, as the art of movement and metamorphosis, constitutes a privileged means of giving form to the plasticity of the identity. Moved by the image of a man dancing in an extremely energetic way and with unique rhythm and phrasing at an open-air dance, she came up with the idea of a piece which serves as a counter-representation to fixed identities. In opposition to essentialism of any kind, Latifa Laâbissi views her dance as the bodily expression of a stratified memory, and which goes beyond simply the framework of the individual. In her eyes, the choreography thus becomes the means by which she can flesh out this “anthropology of signs” which, in turn, relates back to collective subconsciouses, and to a polyphony of ghostly gestures. She takes ownership of them without taking into account the designated categories they are related to. In so doing, this emancipatory dance stands in opposition to the process of “identity-based ghettoization” by means of a shifting identity which manifests itself in joyous fashion, and with all that it implies in terms of excess, indiscipline and the grotesque. The memory of this spontaneous trance becomes the point of departure for a dance of fugitive identities, at the threshold of the human and the animal, a cannibalistic choreography which incorporates all the elements of the imagination that it summons up.
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Running time : 1h
See also
Latifa Laâbissi, Manon de Boer Ghost Party (1)
Which voices nourish artistic practices? In parallel with the exhibition "Chantal Akerman. Travelling" presented at the Jeu de Paume art centre, the artist Manon de Boer and choreographer Latifa Laâbissi conjure up a space in which voice and gesture seek to understand the meaning of artistic genealogies.
Latifa Laâbissi, Antonia Baehr Cavaliers impurs In a visual installation by Nadia Lauro
Following on from Consul and Meshie, Latifa Laâbissi and Antonia Baehr bring us a duo in the form of a series of heterogeneous sequences, interlinked by a common thread of the impure, hybridization and collage. They combine their respective vocabularies, such as the relationship with the expressiveness of the face, and the crossing of genres, registers. Over the course of different numbers or acts, Laâbissi and Baehr interweave their respective universes, thereby overturning the various choreographic codes and blurring the frontiers.
In the same place
Mathilde Monnier Territoires
In Territoires, Mathilde Monnier will be taking over the galleries of the Centre Pompidou during the course of a weekend in order to bring us a piece that deals with memory and circulation, "a collection of gestures from her work over the past thirty years". In doing so, the choreographer sets up the possibility of playing out memory in the present, from now onwards, or by means of anticipation.
Apichatpong Weerasethakul Rétrospective
Apichatpong Weerasethakul presents the complete retrospective of his films at the Centre Pompidou. It consists of his eight feature films, thirty or so short (and rare) films, various collective works, and two feature films produced by him.
Apichatpong Weerasethakul Night Particles
The Thai filmmaker Apichatpong Weerasethakul is guest at the Festival d'Automne and Centre Pompidou. His exhibition, featuring around ten video installations, transforms the former solarium into a nocturnal space inhabited by biographical and architectural reminiscences.
Apichatpong Weerasethakul A Conversation with the Sun (VR)
A Conversation with the Sun (VR), the Thai filmmaker's second foray into the realm of performance, uses virtual reality to set up the conditions for a collective dream.
Ligia Lewis Still Not Still
In Still Not Still, choreographer Ligia Lewis pursues her exploration into the silences and shadows of history. In this piece, the performers play out a score over and over again, the burlesque dimension of which makes it all the more tragic.
Forced Entertainment Signal to Noise
Over its forty years of existence, with Tim Etchells at the helm, the company has never stopped reinventing itself. And it continues to do so. Amidst an oscillating form of virtual reality, six performers find themselves deprived of their voices and their entire beings. The whole thing goes beyond all understanding... Welcome to this new world.
Sébastien Kheroufi Par les villages
Sébastien Kheroufi discovered Peter Handke's Par les villages at the onset of his artistic career. It evokes a writer's return to his native village. Amidst the twilight setting in which one universe declines in favour of another, the voices of the “offended and humiliated” break their silence.