Du ravissement... - Solo & duo by Dominique Brun
Du ravissement... - Solo & duo by Dominique Brun
Du ravissement...
Du ravissement… est conçu en 1994 par la chorégraphe comme un solo pour elle-même. Cette danse s’inspire d’une autre danse écrite par Doris Humphrey en 1931 qui s’intitule Two Ecstatic Themes.
Du ravissement est une sorte de pierre angulaire du travail d’écriture de Dominique Brun, une danse fondatrice de sa démarche artistique actuelle qui consiste à réécrire et réinterpréter des danses disparues. En 2017, Marie Orts propose à Dominique Brun de déchiffrer Du ravissement… grâce à une partition de danse établie par Simon Hecquet (lors des répétitions de 1994). Clarisse Chanel rejoint Marie Orts et les deux danseuses cheminent ensemble vers Du ravissement…, entre partition et images filmiques, sans la présence ni l’aide de sa chorégraphe. Enfin, Dominique Brun voit Du Ravissement… interprété par les deux danseuses. Il se produit alors une expérience inédite pour elle, Marie Orts et Clarisse Chanel réincarnent, avec éclat et puissance, cette danse qu’elle n’avait pas revue depuis quinze ans.
Hors d'oeuvre
The CCN – Ballet de Lorraine invites you to experience the work of several choreographers who will be working with the company this season. These more intimate events, presented at our studios in Nancy, will allow you to see a whole other side of these artists, to see their work with the dancers in a different way. It’s a sort of sidestep, a teaser, a different taste.
Fee: 15€ / reduced fee* : 10€ (limited seats available - booking advised)
Dominique Brun
Choreographer, dancer, teacher, and dance recorder in Laban notation, Dominique Brun has danced since the 1980. She co-founded the Quatuor Albrecht Knust (1994-2003), an ensemble with whom she worked on the recreation of dances from the historical repertoire, based on scores established in Labanotation.
Dominique Brun has pursued for a number of years a systematic exploration of the sources of major works in the history of dance. Through this work, it is possible to reevaluate the impact of these pieces on the genealogy of modernity in dance, and to bring face-to-face these historical sources with contemporary interpretation. Moreover, through collaboration with modern performers, it is possible to contrast history and creation, past and present, and memory and the updating of a piece of work. She conceived and executed The Faun - A Film or the Making of the Archive (2007). She reconstituted for the film Coco Chanel & Igor Stravinsky by Jan Kounen (2010) dance extracts of Nijinsky’s The Rite of Spring (1913) from the period’s archives, and choreographed successively the creation Sacre #197 (2012) then the historical reconstitution Sacre #2 (2014) through which she brought together a diptych of 30 contemporary dancers. The creation of Jeux, trois études pour sept paysages aveugles in 2017, concluded the series of creations consecrated to Vaslav Nijinski’s oeuvre.
She created in 2019 Peter and the Wolf, a choregraphed fable for both children and adults after Prokofiev’s work. She’s working on a new program dedicated to Bronislava Nijinska with François Chaignaud and orchestra Les Siecles, that will be premiered in 2020 at Paris’s Philharmonie , in the frame of Festival d’Automne.