Madeleine Fournier
Branle
© Branle, Madeleine Fournier © Nicolas Marie ©
Choreography, Madeleine Fournier
Performers, Mathilde Bonicel, Madeleine Fournier, Sonia Garcia,
Flora Gaudin, Johann Nöhles, Marie Orts
Music, Marion Cousin, Julien Desailly
Assistant, Jérôme Andrieu
Space, Madeleine Fournier, Nicolas Marie
Lighting, Nicolas Marie
Transmission bourrée 2 temps, Solange Panis
Costumes, Valentine Solé
Make-up artist, Lou Thonet
Sound engineer, Vincent Domenet
Stage Manager, Leslie Vignaud
Production administrator, Margot Guillerm
Project support, Teresa Acevedo
Production Assistant, Louise Alix
Thanks, Clément Vercelletto, Elisa Trebouville, Louis Jacques, Myriam Djemour
Produced by ODETTA
Coproduction Chorège - CDCN Falaise Normandie as part of the "accueil-studio" scheme supported by the French Ministry of Culture; NEXT festival; Charleroi Danse - center chorégraphique de Wallonie- Bruxelles; CCN2-Centre chorégraphique national de Grenoble as part of the "accueil studio" scheme; Mille Plateaux - CCN La Rochelle as part of the "accueil-studio" scheme supported by the French Ministry of Culture, Atelier de Paris / CDCN ; CND Centre national de la danse (Pantin) ; 3 bis f - Centre d'arts contemporains d'intérêt national à Aix-en-Provence - artist residencies - performing & visual arts ; Le Carreau du Temple - Établissement culturel et sportif de la ville de Paris ; Festival d'Automne à Paris ; kunsten centrum BUDA (Courtrai) ; Centre chorégraphique national d'Orléans - Direction Maud Le Pladec
With the patronage of Caisse des Dépôts
The ODETTA company is supported by the Drac Île-de-France / Ministère de la Culture with a multi-year grant.
With residency support from La Soufflerie; La Métive - Artists' residency in Moutier d'Ahun
This project was financed by the Île-de-France region, the city of Paris, Adami and Spedidam.
Madeleine Fournier has been supported since 2018 by Atelier de Paris / CDCN
Co-produced by Atelier de Paris / CDCN; CND Centre national de la danse; Festival d'Automne à Paris
Viewing the ball as an eminent manifestation of the collusion entre music and dance, Madeleine Fournier takes her inspiration from the branle, a popular European dance dating back to the Renaissance. Musicians and dancers alike lead an alchemic ball, a shock-filled stroll, and ballet of the emotions.
Based on the two-step bourrée, a traditional dance from France’s Berry region, Branle weaves a canvas of the to-ing and fro-ing of bodies which, despite never entering into contact with each other, is deeply erotic, loving, and alive. Making use of a joyful play on words in terms of its different meanings as word, verb and its afferent adjective – ébranlé, meaning shaken or rattled –, the choreographer borrows from the world of the ball, exploiting to the full its form, and potential for setting in motion energies and affects. From out of this choreographic archetype of collective dance, she summons up an ancestral memory of the body. The choreographic loop of the basic step, which involves coming close and then moving away, becomes the impulse behind infinite variations on the relationships between the performers. This, in turn, progressively enables emotions to come to the surface, as well as reminiscences, deeply-buried movements, in short, a whole invisible life. As a place for the expression of the creative and destructive forces of the body, and in which our collective sub-conscience becomes apparent, the ball here takes us to the threshold of an unsettling feeling of eternity.
In the same place
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The director Maxime Kurvers furthers his research in theatrical anthropology by bringing the actress Yuri Itabashi face-to-face with the ban which prevents her, in accordance with tradition, from performing Okina, a play and ritual originating from nō theatre. As such, this piece is about how, through the power of the imagination, we can embrace what is forbidden to us.
Radouan Mriziga Atlas/The Mountain
In Atlas/The Mountain, the Moroccan choreographer Radouan Mriziga transforms his body into a catalyst for energies and traditions from the Atlas Mountains. This solo in the form of a ritual is transcended by polymorphic figures and captivating rhythms.
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.
Elsa Dorlin Travailler la violence #4
How can we work on violence? How can we put into perspective, stage and retell it? How can we tear it to pieces? The purpose of this two day-long series of encounters, put together by the philosopher Elsa Dorlin, will be to update what critiques of violence teach us and to make an inventory of the various weapons of violence collected.