- CCN-Ballet de Lorraine
- Centre Chorégraphique National
- Practical information
Premiere on May 18, 2022 at the Opéra national de Lorraine (Nancy)
Photo Ciné Sketch: Adam et Eve © Man Ray 2015 Trust - Adagp Paris 2022
Choreographer, dancer, teacher, and dance recorder in Laban notation, Dominique Brun has danced since the 1980. She co-founded the Quatuor Albrecht Knust (1994-2003), an ensemble with whom she worked on the recreation of dances from the historical repertoire, based on scores established in Labanotation.
Dominique Brun has pursued for a number of years a systematic exploration of the sources of major works in the history of dance. Through this work, it is possible to reevaluate the impact of these pieces on the genealogy of modernity in dance, and to bring face-to-face these historical sources with contemporary interpretation. Moreover, through collaboration with modern performers, it is possible to contrast history and creation, past and present, and memory and the updating of a piece of work. She conceived and executed The Faun - A Film or the Making of the Archive (2007). She reconstituted for the film Coco Chanel & Igor Stravinsky by Jan Kounen (2010) dance extracts of Nijinsky’s The Rite of Spring (1913) from the period’s archives, and choreographed successively the creation Sacre #197 (2012) then the historical reconstitution Sacre #2 (2014) through which she brought together a diptych of 30 contemporary dancers. The creation of Jeux, trois études pour sept paysages aveugles in 2017, concluded the series of creations consecrated to Vaslav Nijinski’s oeuvre.
She created in 2019 Peter and the Wolf, a choregraphed fable for both children and adults after Prokofiev’s work. She’s working on a new program dedicated to Bronislava Nijinska with François Chaignaud and orchestra Les Siecles, that will be premiered in 2020 at Paris’s Philharmonie , in the frame of Festival d’Automne.
Born in 1987 in Brazil, Volmir Cordeiro first graduated in theater and worked with the Brazilian choreographers Alejandro Ahmed, Cristina Moura and Lia Rodrigues. He graduated in 2012 from Essais, Centre National de Danse Contemporaine d’Angers, directed by Emmanuelle Huynh. He has performed in the projects of Xavier Le Roy, Emmanuelle Huynh, Vera Mantero and Latifa Lâabissi. After a first series of solos (Ciel, Inês and Rue), he created the duet Époque with Marcela Santander Corvalán in 2015, and L’oeil la bouche et le reste in 2017, which was declined also as an exhibition. He has just published a book based on his phd thesis, Ex-corpo, in Carnets collection.
Mixing genres, redefining formats, the creations of Latifa Laâbissi bring onstage a special kind of off camera layering of figures and voices.
The use of voice and the face as vehicles for certain states became irrevocably entwined with the danced act in Self-portrait camouflage (2006) and Loredreamsong (2010). Then, continuing her examination of the theme of archive, she created Écran somnambule and La part du rite (2012), based on German dance of the 20s. Pourvu qu’on ait l’ivresse (2016), cosigned with the set designer Nadia Lauro, consists of visions, landscapes and images in which we see excess, the monstrous, the beautiful, the random, the comic and fear. Since 2011, Latifa Laâbissi has been the Artistic Director of Extension Sauvage, an artistic and pedagogical program located in rural areas of Brittany.
In 2016, a monographic book about her whole work is published at Les Laboratoires d’Aubervilliers and Les presses du réel. In 2018, she creates with Antonia Baehr, Consul & Meshie, a simian performance in a visual installation by Nadia Lauro. They also gather, in 2019 for the video Moving Backwards by the duo Pauline Boudry and Renate Lorenz, presented in the Swiss Pavillon of the 58th Venice Biennale.
On Summer 2019, the Festival de Marseille welcomes the premières of her last creation, White Dog, a choreography for 4 performers. And until 2019, she is an Associate Artist at the CCN2 – Centre chorégraphique national in Grenoble and at the Triangle – scène conventionnée danse à Rennes.
The choreographers and dancers Petter Jacobsson and Thomas Caley, started collaborating in the nineteen nineties, choreographing works for Martha@Mother, the Joyce Soho in New York and the opera Staden for the Royal Opera House in Stockholm, a commission for the 1998 Cultural capital of Europe. For the Royal Swedish Opera, Ballet and Orchestra they created two immense Happenings, In nooks and crannies 2000 and 2001. The two different performances, occupied non-traditional performance spaces throughout the entire theatre.In 2005 they started their own company creating works entitled Nightlife, Untitled partner, Flux, No mans land - no lands man and The nearest nearness. In 2002 they received a “Goldmask” for the musical Chess with Björn Ulveus and Benny Andersson (ABBA).
As of 2011, Petter is choreographer and the Artistic Director and Thomas choreographer and the Coordinator of Research for the Centre Chorégraphique National - Ballet de Lorraine, Nancy. For the company they have created Untitled Partner #3, Performing Performing, Relâche, Armide, Discofoot, L’Envers, Record of ancient things, Happening Birthday and For Four Walls.
Their programming for the CCN is organized around questions or themes and each year they invite a wide variety of artists both French and international to play and question within them.Their first programming season 2012, was entitled La saison de La. There they asked why is it Le Ballet but La dance? In response to this question of gender they presented solely female choreographers of diverse backgrounds. The season Tête à tête à têtes was a dialog focused on our modernity and its influences and connections with contemporary artists and spectators. Live! was a celebration of the ephemerality of the performing arts. Together with the continuing seasons, Folk + Danse = (R)évolution, Unknown Pleasures, 50 ans!, Fifty Plus, all have continued to challenge, celebrate and question our current 19/20 season’s subject, the need for all this Useless Beauty. To insure a continued lively and non fixed use of the artform they have also worked with the Musée d’Art Moderne in Paris and Centre Pompidou- Metz and Paris, and an original initiative LAB-BLA-BAL, a series of discussions and open house art experiments.
Born in Stockholm, Petter Jacobsson started his studies in dance at the age of three and was further educated at the Royal Swedish Ballet School, the School of American Ballet under Stanley Williams and he later graduated from the Vaganova Academy in St.Petersburg in 1982. As a principal dancer with the Sadler’s Wells Royal Ballet in London between 1984 to 1993, he toured internationally dancing all of the renowned classical roles as well as appearing as guest artist with numerous international companies. He later moved to New York to begin a freelance career, dancing with Twyla Tharp Dance Company, Merce Cunningham Repertory group, Irene Hultman Dance and later with Deborah Hay. In 1999, Petter was appointed artistic director of the Royal Swedish Ballet in Stockholm.
Thomas Caley started his dance training at Interlochen Arts Academy in Michigan, he continued his education earning a BFA from Purchase College in upstate New York in 1992. After graduating from university, a year was spent experimenting, performing in a multitude of independent projects in New York City. From 1993 until 2000 he was a principle dancer with the Merce Cunningham Dance Company touring throughout the world and participating in the creation of twelve new works. In 2000 he moved to Stockholm to continue his collaboration with Petter Jacobsson and to continue working as a freelance dancer in Europe, in France Thomas has worked with Boris Charmatz on the 50 ans de danse & flip book projects.