Katerina Andreou
Mourn Baby Mourn
Mourn Baby Mourn, Katerina Andreou @ Hélène Robert ©
Mourn Baby Mourn, Katerina Andreou @ Hélène Robert ©
Mourn Baby Mourn, Katerina Andreou @ Hélène Robert ©
Design and performance, Katerina Andreou
Sound, Katerina Andreou and Cristian Sotomayor
Lighting and space, Yannick Fouassier
Text, Katerina Andreou
Outside view, Myrto Katsiki
Video, Arnaud Pottier
Thanks, Natali Mandila, Jocelyn Cottencin, Frédéric Pouillaude
Production BARK
Production, diffusion Élodie Perrin
Coproduction CCN de Caen en Normandie – direction Alban Richard within the framework of the "Associated Artist" program; Les SUBS – lieu vivant d'expériences artistiques (Lyon); Pavillon ADC (Geneva); Rencontres chorégraphiques internationales de Seine-Saint-Denis; CND Centre national de la danse; La Soufflerie – Scène conventionnée de Rézé; NEXT Arts Festival ; La Place de la Danse CDCN Toulouse Occitanie, within the framework of the Accueil Studio program; ICI-CCN de Montpellier - Occitanie / Pyrénées Méditerranée – Direction Christian Rizzo ; Centre chorégraphique national d'Orléans – Direction Maud Le Pladec With the support of the Drac Île-de-France / Ministère de la Culture
Support for experimentation RAMDAM, UN CENTRE D'ART; BUDA Courtrai; CND Centre national de la danse
Katerina Andreou is an associate artist of the CCN of Caen in Normandy – directotion Alban Richard (2022-2024)
With the support of Dance Reflections by Van Cleef & Arpels
The CND Centre national de la danse and the Festival d'Automne à Paris are coproducers of this show and present it in coproduction
In the choreographic and sound-based piece Mourn Baby Mourn, Katerina Andreou uses melancholy as its raw material. This solo piece functions as a distress signal, an attempted escape of a virulent kind.
At the origins of Mourn Baby Mourn, Katerina Andreou’s third solo piece, lies an underlying feeling of sadness and frustration, which is both intimate and shared. What if this confusion also corresponded to that of an entire era, society or generation? What should we do with these negative states? The Greek choreographer’s answer is to use them in a motor, the fuel for which is provided by the words, spewed out and projected in the form of a spontaneous text directly addressed to the audience. The dancer’s body coexists with these woes turned into woes, via an autonomous form of movement, an invigorating free style. Mourn Baby Mourn oscillates between the vivid sounds of electronic music and the chiseled contours of a soundscape devised in conjunction with the Chilean musician Cristian Sotomayor, swaying back and forth almost inevitably. To mourn, in English, means both to grieve and to lament. With its pop-music sounding title, Mourn Baby Mourn attempts to find a way out of a personal impasse via movement of a powerful, life-enhancing kind. In this piece, music, words, bodies and words find themselves with their backs to the wall.
In the same place
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