- CCN-Ballet de Lorraine
- Centre Chorégraphique National
- Practical information
Created on April 13, 2016 on the Place Stanislas (Nancy) through the trophy tour for the Euro football cup 2016
1 Referee & 3 artistic judges
24 dancers from the CCN Ballet-de-Lorraine: Two teams of 12 (9 on the field 3 as replacements)
Get down and boogie! Bust a groove! Shake your tail feather! Cut a rug! Get your freak on!
Discofoot is an ass kickin, DJ spinin, maybe even twerkin free-styling battle, where footballs’ rules are twisted and thrashed by dance. Let the choreography of the ball take you on a ride that passes the unknown and spectacular possibilities of this dead serious performance of a football match...
You will never look at a pair of golden shorts and a «discofied» football the same way again!
The performance/match uses the rules and organization of professional football as its choreography. In combination with certain set choreographic elements, the performers use this base, to battle it out in excessive and decadent improvisation. The main and dividing rule is that you may not run. Your only way to advance on the pitch is to dance. But not just any dance… Your teams’ skills are judged and given scores by a panel of judges, like in figure skating. The goal is not only to make a goal, but lies equally in the finesse in which you made it.
START (5 min.)
A professional match begins with the usual ceremony of a typical football match: announcements, warm-up, handshake, anthem, team photo opt.
FIRST HALF (10 min.)
HALFTIME (5 min.)
Starts with a 2 min. choreographed «stretch» sequence. After, artistic scores, a maximum of 6.0 are awarded to each team from our panel of professional judges. These points are tabulated with eventual goals. The announcement of scores is made.
SECOND HALF (10 min.)
- Tallying of second half scores together with artistic points gets then added to first half points.
- Winning team is announced and trophy given.
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.