1968 - 2018
The program was first performed on November 15, 2017 at the Opéra national de Lorraine.
Production CCN – Ballet de Lorraine
1968 – 2018
A program created by Petter Jacobsson and Thomas Caley
1968 was a seminal year in the second half of the 20th century, a period which continues to resonate today. Some of the pipe dreams and ideas which were brought up during the mass demonstrations of that time never came to pass and are in fact no longer even mentioned, but we do see the impact of that revolutionary time on multiple sectors in our societie(s).
One of the major achievements was the freeing of the body, of all our bodies: we moved from the hidden, constrained and standardized body to a multi-form body in space, both affirming and laying claim to its specificity. Beyond contemporary dance, which took hold of and then ran with this new freedom, the entire performing arts field has mirrored this major social advancement, while the creators in these fields have also fully expanded into the space of this hard-won freedom. At a time when the proponents of obscurantist puritanism seem to be gaining ground politically, it is entirely valid – even healthy – fifty years later, to be celebrating a time which brought together the individual and the collective, which allowed for the affirmation of an individual’s most intimate identity at the center of a community of increasingly focused activists.
© Laurent Philippe
Choreography: Petter Jacobsson and Thomas Caley
A birthday is a celebration of life and a declaration of ones existences.
Better shared with friends, we’ve asked a group of our public to help us realize our party. With an inspiration from the public protests of the late 60’s and its culture of change, a time that gave rise to the formation of our company, we proudly celebrate our long history with a declaration that we are here and here to stay. The continuation of the pre-show takes place on stage, as the public enters. Part party part installation, the performative actions on stage echo current and historical liberations of body, form and sound.
© Laurent Philippe
Choreography: Merce Cunningham
Music: David Tudor, Rainforest
The title for "RainForest" came from Cunningham’s childhood memories of the Northwest, and the rainforest in the Olympic Peninsula. "RainForest" differed from Cunningham’s other pieces in that, with the exception of Cunningham, each of the six dancers performed his or her role, then left the stage and never returned. Andy Warhol agreed to let Cunningham use his installation "Silver Clouds"--a number of Mylar pillows filled with helium, so that they floated freely in the air. The dancers wore flesh-colored leotards and tights, which Jasper Johns (uncredited) cut with a razor blade, to give the costumes a roughened appearance. The music was by David Tudor, and evoked the chirping and chattering of birds and animals.
RainForest was first performed by the Merce Cunningham Dance Company on March 9, 1968 in Buffalo, New York.
RainForest (1968) by Merce Cunningham © Merce Cunningham Trust. All rights reserved.
Rainforest (1968) courtesy of the David Tudor Project at Performing Artservices, Inc.
© Laurent Philippe
Choreography: Miguel Gutierrez
Music co-created by Miguel Gutierrez and Olli Lautiola
a new dance by Miguel Gutierrez
In the big room the people come. Some are above and some are below, some are quite far away and some are close enough to touch. No one is better or worse than the other. Nothing is pure or neutral, not anymore. (It never was.) We are still learning how to be alive, how to be together. How to understand difference at a time of increasing anxiety. What happens when a society of individuals produce multi-valent, unstable but dynamic meaning? Let’s call it a dance. Why struggle for coherence, when illegibility is the only political recourse that remains? The current moment holds infinite sorrow. But fuck it, I’m not crying. Either way, tonight we will sleep in our beds, alone or entangled, as the moon shines.