- CCN-Ballet de Lorraine
- Centre Chorégraphique National
- Practical information
For STATIC SHOT, I am imagining a specific sort of set, something between a dance piece, a stage installation and a film set, using a still shot or a sequence of shots, an enclosed space or a fixed frame in which the “camera,” movement and perspective, never stops. In other words, an immobile journey of sorts. The plasticity of the images, the representation of the bodies, but also the energy and the flow are essential on this stage, where the dancing, extremely precise, high intensity, never comes down, never diminishes. Nuances, ranging from the mezzo forte to fortississimo, will make this piece a nearly permanent crescendo, an invitation to the audience to step into unending ecstasy.
The dramaturgy of the work, conceived as a mass of bodies, images and sounds, will have neither beginning, ending or mid-section. The dancers (I am hoping for 18-24 of them right now) are channeling a permanent climax, racing toward this high, their energy constantly at its highest point. How will we deal with the tension, the ecstasy, the collective orgasm? But there will also be relaxation, breath, dissipation. In STATIC SHOT it will all be about bodies, how they interact, how they don’t interact, how they go beyond, how they move, how they live or survive, how they let go, how they attract each other, how they mingle, bump into each other, how they sweat, how they transform themselves and do not die (…) Behind a simple pitch or situation, such as a moment of panic, a party, an assembly (…) are more complex questions: ‘What happens if I enjoy myself too much? What is the anguish of ecstasy? What happens if pleasure becomes a reason for tension?’ (…) Dance can show these changes as well as the preservation of certain states.»
Maud Le Pladec
Maud Le Pladec
Coproduction with CCN d'Orléans
Duration: 1 hour
Following her studies at the National Choreographic Center of Montpellier, Maud Le Pladec danced for choreographers such as Georges Appaix, Loïc Touzé, Mathilde Monnier, Mette Ingvartsen, and Boris Charmatz. In 2010, she premiered her first piece, Professor, first section of a diptych revolving around the music of Fausto Romitelli (Choreographic Revelation Award from the French Union of Theatre, Music and Dance Critics). The second section followed in 2012 with Poetry.
In 2013, Maud Le Pladec became laureate of the French Institute’s Hors les Murs program, and conducted research in New York into American post-minimalist music, leading to her pieces Democracy with TaCtuS Ensemble and Concrete with the Ictus contemporary music ensemble. In 2015, she began a new cycle of works giving voice to women by co-authoring Hunted with the New York choreographer-performance artist Okwui Okpokwasili. In 2016, she worked with the Paris National Opera for Eliogabalo with stage director Thomas Jolly, under the musical direction of Leonardo Garcia Alarcon. In parallel, Maud Le Pladec was Associated Artist at La Briqueterie – CDCN du Val de Marne.
In January 2017, she succeeded Josef Nadj as director of the National Choreographic Center of Orleans, where she has since premiered Borderline with the stage director Guy Cassiers, Je n’ai jamais eu envie de disparaître with the writer Pierre Ducrozet, the solo Moto-Cross, and Twenty-seven perspectives for the 2018 Festival Montpellier Danse. In 2021, she presented Static shot with the CCN - Ballet de Lorraine, and counting stars with you (musiques femmes), a creation dedicated to women composers in the musical heritage. Her next creation for 2022, Silent Legacy, will be a duo between 8-year-old krump prodigy Adeline Kerry Cruz and professional contemporary dancer Audrey Merilus.