- CCN-Ballet de Lorraine
- Centre Chorégraphique National
- Practical information
Première le 23 mai 2024 à l'Opéra national de Lorraine (Nancy)
Thanks to the CCN - Ballet de Lorraine, I will be working with a large group of dancers for the first time – twenty-four, to be precise! This is why I have chosen to call this piece malón, an Argentine expression referring to the arrival of a large group of people that creates disorder, and even vandalizes, a place.
By channeling the group synergy that connects the Ballet’s dancers, I would like to work with notions close to my heart: pleasure, enjoyment and letting go on the one hand, precision and rigor on the other. You might think these notions were contradictory, and that is exactly what I am interested in: how any notion actually includes its “opposite”; how determination contains indetermination; order, disorder; construction, destruction, and so forth.
More specifically, in choreographic terms, I would like to create a paradoxical experience: starting from a “simple” movement without pretension, and trying to see how, by the process of repetition/transformation, this “little” movement manages to spread, widen, and become more complex. In short, creating a butterfly effect, an act of excess.
Harnessing raw energy, mixed with meticulous attention to detail, I would like to work with a piece of techno music and explore a form that encompasses rave parties and sacred rituals, past and present, “natural” and artificial. Or more precisely, all of this at once: mix, disrupt, amplify everything – to excess. Like a tornado or eruption of absolutely joyous violence!
A choreographer and a dancer, Ayelen Parolin lives and works in Brussels. Born in Argentina, she arrived in Europe in 2000 and trained in Montpellier. She then began a career as a performer which led her to collaborate with Mathilde Monnier, Jean-Francois Peyret, Mossoux-Bonté, Alexandra Bachzetsis, Mauro Paccagnella and Louise Vanneste.
In 2003, she began pursuing her choreographic work. From her autobiographical solo 25.06.76 to the group piece WEG (2019) she created about twenty pieces, including DAVID (2011), Hérétiques (2014), Nativos (2016), Autoctonos (2017). The protean body of work thus composed makes contradictions its own, helping to shed light on the complexity of the self. An unclassifiable and unpredictable choreographer, she navigates between several universes and aesthetics, constantly attentive to exploring different parts of herself and probing what links us to others.
She is regularly invited to collaborate with national companies and has created pieces for the KNCDC – Korean National Contemporary Dance Company (2016), the Ballet national de Marseille (2017), and Carte Blanche – Norwegian National Contemporary Dance Company (2019).
Alongside her creations, Ayelen creates non-hierarchical laboratories to meet, share and exchange, which allow for testing new ways of working and communicating within a collective. The company also organises exchanges with the public, generally around its creations but also in the form of workshops with non-professionals. The company also emphasises transversal and transdisciplinary encounters, such as that with the composer and pianist Lea Petra or the physicist Pierre Dauby.
The company received the SACD prize all of its work in 2016 and the Prix de la Critique for Nativos in 2017. The same year, Ayelen became a Fellow of the Pina Bausch Foundation which awarded her a scholarship. From 2017 to 2020, the company is artist in residence with Charleroi danse (Belgium). Ayelen was also a laureate of Pépinières européennes pour jeunes artistes (XXL programme) in 2006.
Her work has travelled throughout Europe, North and Latin America, Asia and North Africa, and has been shown at Théâtre de la Ville (Paris), Montpellier Danse, Actoral (Marseille), 100 dessus dessous festival (Paris), Palais de Tokyo (Paris), Kunstenfestivaldesarts (Brussels), Tanz im August (Berlin), Centquatre-Paris and the Edinburgh Festival Fringe.
The company is currently supported by Théâtre de Liège (2018-2022) and will be supported by Théâtre National Wallonie-Bruxelles from 2022 on.