I hunger for you
During our residency we will be concentrating on the development of our new creation, I hunger for you, an evening project for five artists. In this piece, forces deeply anchored in faith, violence, vital forces and compassion run through bodies movjng through our hypnotising, extremely beautiful and often dangerous world. In space defined by light and its absence, the work addresses the idea of impulse and moves further into ecstasy, ritual and desire, riding the line between barely controlled abandon and a vibrating stillness.
I hunger for you draws from my experiences in the evangelical communities of the American South. I hunger for you will be presented at the BAM Next Wave Festival 2018 in New York.
Choreography and artistic direction: Kimberly Bartosik
Dancers: Christian Allen, Dylan Crossman, Burr Johnson, Lindsey Jones and Joanna Kotze
Lighting and set design: Roderick Murray
Music: Sivan Jacobovitz and arrangements by Kimberly Bartosik
Costumes: Harriet Jung
Wednesday September 19, 2018 6:30- 8:30 PM: ON DANSE workshop with Damien Briançon and Etienne Fanteguzzi
Laisse le vent du soir décider
Will we succeed at doing this together? What compromises will I have to make? Do we have the right to do it slightly differently? How far will we allow ourselves to drift? Will your memories continue to haunt me? Will our different points of view be clear? Is this idea actually pertinent? How do our desires take shape? Is it okay if I surprise you? Will we really be able to play like children do?
Yes, all is well, Laisse le vent du soir décider is a clear, precise project which asks these questions and answers them, more or less. With actions, words, objects and process. We seek to use the performance time for positioning and affirmation, while also not forgetting to fervently defend our impulse toward derision and the absurd. Facing off against each other are two dancers, a set designer, a composer, a lighting designer: the project takes place around a giant mechanic working toward the inevitable uselessness of construction, making the performance a collective, common work.
Laisse le vent du soir décider, is the title of the piece – we will be three, like three parts of a mechanism, and we will be trying to create a robust piece, finding just the right tuning. So – we are caught up in the cogs of a chaotic form, exploring the shapes of a resisting body, one which does not want to be part of a machine, spirits attracted by the idea of elevation, pure shapes which are frustrated by creaking raw material, finding a way through places where movement seems to be blocked. Here nothing is static, it is constantly seeking balance. One might posit that three of something would lead to balance but it is seemingly the exact opposite which happens.
It is in the construction, a projection of ourselves, that we will learn how to pace, to tame ourselves. Finding logic in an assemblage in which degrees of freedom are uncertain. An accumulation of contacts will trigger movement, disorder, joy – it is not always easy to understand the complexity of logistics saturated with directions.
So Laisse le vent du soir décider will resonate like an ideal, a letting-go, a promise of organization without hierarchy, without orders. What can this motor be in us, authorizing this organicness?
Wednesday October 24, 6:30 - 8:30 PM: ON DANSE workshop with Christian Ubl
Langues de feu & Lames de fond (Fire languages & Groundswell)
The diptych LDF, Langues de feu & Lames de fond, is a polymorphic project which offers a meeting space between the choreographic creation directed by Christian UBL and the contemporary text, inspired by little news items and directed by Lucie Depauw – based on two elements, fire and water.
The first poem, Langues de Feu, is dominated by the element of fire, revolt, protest, the recapturing of public space, of sacrifices made so that one can be heard, existing … A political act to trigger change, hope, movement … The second poem, Lames de fond, is about the element of water; the fire of recent Arab revolutions has spread but the immense hope they engendered has given way to chaos; in countries literally set ablaze, thousands of men jump into the ocean.
LDF intends to translate this reality in a scenic presentation which will question our humanity.
Thursday December 6, 2018 at 19:00 AM: Open rehearsal by the company of Feeding Back with Malgven Gerbes and David Brandstätter
Feeding Back is a continuous dialogue between a stage and the urban space, rewriting social choreography based on the idea of resistance. The piece involves the audience, the dancers, the choreographers, and an invited guest as well as a number of motivated, committed citizens.
Working from behavioral studies and the fact that all our data (notably on the internet) is easily accessible and therefore may also be manipulated, we ask ourselves: what kind of resistance must we develop today in order to remain autonomous beings? How do we find spaces for sharing and/ or trans-indivudal territories which are not quantifiable? Feeding Back is a choreographic progression for five to seven dancers, channeling a philosophical expedition which will trigger the development of ethical landmarks in a period of intense individualization.
Creative discoveries revealed by the piece will be debated and reformulated by a guest from outside the company, an artist or a theorist, who will also engage in dialogue with the audience. The goal is to generate, on the day following the performance, a version of it in the urban space, which will resonate with future performances. This is an “accumulative” piece which is continuously being developed; Feeding Back seeks social poetry and intellectual independence, in both its choreographic and dramaturgical structure, as well as in its own creative process.
Wednesday February 20, 2019 6:30 - 8:30 PM: ON DANSE workshop with Aina Alegre
LA NUIT, NOS AUTRES
LA NUIT, NOS AUTRES est un projet chorégraphique, né du désir d’approfondir la question « Comment se célébrer ? » abordée dans LE JOUR DE LA BÊTE. Alors qu’avec cette précédente création, cette notion était liée à celles de « Comment se mettre ensemble ? » et de « Comment convoquer des énergies collectives pour trouver des espaces communs ? » avec LA NUIT, NOS AUTRES je souhaite continuer à creuser l’idée d’auto-célébration et aborder le portrait comme un rituel intime, d’émancipation et de potentiel fiction de soi.
Cette nouvelle création met en jeu la notion d’identité et construit au plateau une expérience gestuelle et plastique autour de la représentation, de la figuration et de la métamorphose de soi. Un rituel, une pratique du portrait liés ici au polymorphisme.
Comment interroger et faire transparaître la pluralité d’identités qui habitent notre corps ? Quels sont les gestes, actes et états de corps révélateurs de ce phénomène ?
Le plateau, baignant dans des atmosphères crépusculaires et nocturnes, sera investi par trois interprètes, trois parcours physiques qui parfois fusionneront et parfois se démultiplieront, de façon à tisser trois portraits, en forme de «triptyque» qui permettra la mise en relation des trois performeurs.
A travers le mouvement et la voix, les interprètes donneront forme à une recherche autour du corps auto-fabriqué, à la fois corps qui se révèle, mais aussi qui se masque, une forme de disparition permettant la création d’une identité autre. Alors que pour ma précédente pièce l’utopie résidait dans la puissance du groupe, de l’ensemble, du commun, LA NUIT, NOS AUTRES évoque plutôt la force de ce corps qui se célèbre et qui se libère en fabriquant plein d’autres corps, qui devient pluriel, ce corps qui se transfigure.
Company Lucie Tuma
There are songs that are hard to get out of your head and clothes that accompany you a life long. Or at least for a considerable amount of time. Julie Laportes’ Solo 2043 JLP is like such a favourite piece of clothing, difficult to part from, just like such a recoccuring song. An object that is always recognizable and yet, continuously changing. It sits a little like this or that on her body, familiar and intimate through years of company, a piece of her as well as an alien thing. She will be dancing it for the next 25 years. The work unfolds itself over the duration of this life time. It isn’t the euphoric intensity of the new, but the still and unexcited joy by gazing at newly discovered aspects of the old. On top, there is a rumour around this solo having an impact of cell rejuvenation on the dancer - but not only that, also on everybody witnessing it. Part of the solo is a soundtrack with a number of songs sung by the choreographers voice, reflecting and rejoicing in the fragile and at the same time strong relationship between dancer and choreographer, or more so, the love story between choreography and dance.
Another part of 2043 JLP comes in form of texts: It engages with each pace it will be visiting by a series of prose text from now until 2043, a future archive of intuitive and rational engagement with singular space balancing, written from a position of magical curiosity and the vulnerability of never knowing for sure. Something like Feng Shui in times of digits and bits and bytes, maybe.
Moving alternatives is the reconstitution and revival of solos and group works by the well‑known 20th century American choreographers Ruth Saint-Denis and Ted Shawn. Working with certain perspectives on the idea of gender and cultural appropriation, this creation by Anne Collod examines the different figures which represent the “other” in the wide‑ranging arc of these pieces, filled with resonances of Indian and East Asian dancing. Six dancers channeling their own rich diversity of cultures and experiences will explore in movement, using specific un‑framing devices, the effects and the aesthetic and political stakes involved in reinterpreting these pieces today.
Wednesday March 13, 2019 6:30 - 8:30 PM: ON DANSE workshop with Eric Minh Cuong Castaing
With this project Videogame, I am proposing – to my dancers, the spectators, and to myself – a way of looking differently at the question of the virtuosic dancer body, displacing our performances dealing with the dancer’s body. It was necessary therefore to short-circuit the performance (in the form of an onstage rehearsal, based on movement mastery) by imagining a structure which would feature – instead of the usual spectacular elements – the dancers’ bodies as they are searching and researching. We play a game, a process inspired by the universe of video games and virtual reality, something which will destabilize the habitual perception of the dancers: two of them will wear special glasses equipped with a camera; and the four others will wear lower cost oculus glasses which we will have assembled ourselves, allowing them to receive in real time images recorded by the other dancers’ cameras. They will literally be “diving” into the eyes of the others, translating as best they can the information they receive in the received images, sounds and their own personal radar ... This will culminate, based on a series of instructions we will have already laid out together – in the dancers building creative propositions which will be solutions they may use to solve the problems they find in the structure.