Échelle Humaine Taos Bertrand

Carte blanche à l'atelier de Taos Bertrand

Meeting

Archive 2023
Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 17

© Prospero’s Books (1991) de Peter Greenaway ©

1h

Choreographer Taos Bertrand is leading a workshop with students from the Beaux-Arts de Paris on the figure of the mermaid. After five days' work, the students present the results of their session to the festival public.

"sassy is a performance workshop looking at the marvellous creature of the mermaid, the infernal double of the celestial Muses, present in both popular and academic culture. From Homer and Andersen to Walt Disney, Square Enix, Michel Foucault, Franz Kafka, Maurice Blanchot, Shygirl and Edgar Allan Poe, and from Ovid's "doctae Sirenes" to mythical tales of fluidity, otherness, the monstrous, trickery and death. They are called Ondine, Ariel, Leucosia, Aglaope or Lygia and are often associated with a disastrous fate, metamorphosing into stone or a stream. Orpheus and Ulysses plunge them into silence. sassy is an invitation to read, interpret and rewrite, over the five days of the workshop, the endings that history has given to this chimerical and transhistorical figure. Through the body of each participant, we will compose other translations where notions of club culture, performance and mythological narrative can switch. To give them a new voice, mutations, strength, song and stridency. Under the sign of excess, rebirth and desire."

Taos Bertrand

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
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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
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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.