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25 November at 17.00, 19.00 & 21.00

Mus?e de la danse / National Dance Center of Rennes and Brittany (France)

Choreography Boris Charmatz

Performers cast: Matthieu Barbin, Nuno Bizarro, Olga Dukhovnaya, Alix Eynaudi, Julien Gall?e-Ferr?, Peggy Grelat-Dupont, Christophe Ives, Maud Le Pladec, Mark Lorimer, Thierry Micouin, Mani A. Mungai, Asha Thomas

Manger – the first piece by French choreographer Boris Charmatz, the significant figure of world contemporary dance, and his Mus?e de la danse, to be performed on tour in Moscow.
Dancing by Charmatz often starts suddenly, he is looking for momentum not in creation, but in opposition and challenges and receives from this an additional opportunity for development. If in the “Enfant” performance the movements of the dancers were hampered by the manipulation of the children’s bodies on stage, “Manger” is build up on the contradiction (at first glance) of dancing and the process of food absorption. Together with the artists Charmatz develops the story of their relationship, exploring it in unexpected ways, coming to paradoxical, even frightening conclusions.

Dancing is the mother of anorexia. Marathon runners eat on the run. Prisoners go on hunger strikes. The dinner ritual is disappearing. Children eat while dancing around. You eat lying down. She sleeps on her feet. We digest information. He dances while chewing. He chews while dancing while singing. We launch movement with our mouths. With our lips. With fingers that we suck. With feet that touch food on the ground. Dance is in the stomach. Dance is in the palate. Dance is in the teeth. Dance is in the tongue. We take away the table and chairs and the tablecloth. We envision a sort of meal in motion, we eat everything, we eat anything, all the time. We are an orchestra in motion, self-fueled. A speculative ecosystem. The long food chain is fast-forwarded from hand to hand, and food finally disappears inside the bodies. There is always something to be saved from the leftovers. The d?cor becomes invisible: it has been licked into a total transformation. A choreography of juices. The choreography of people also becomes a choreography of food that traverses the inside of space and bodies. Total permeability. The body opens up to the food that it encloses. The essence is jammed down the throat. You don’t want to die stuffed. You swallow the message without having read it. You swallow reality. You digest conflicts. They eat in the broadest sense. Reality devoured.

Light Yves Godin
Sound Olivier Renouf
Arrangements and vocal training Dalila Khatir
Choreographic assistant Thierry Micouin
General stage manager Mathieu Morel
Dresser Marion Regnier
Production Sandra Neuveut, Martina Hochmuth, Am?lie-Anne Chapelain

Sound material Ticket Man, The Kills ; Hey Light, Animal Collective ; King Kong, Daniel Johnston ; Leisure Force, Aesop Rock ; Je t’ob?is, Sexy Sushi ; La Folia, Arcangelo Corelli ; Symphony n°7, Ludwig van Beethoven ; Qui habitat, Josquin des Prez ; Three Voices, Morton Feldman ; Lux Alternae, Gy?rgy Ligeti
Text Le bonhomme de merde in L’Enregistr?, Christophe Tarkos, P.OL., 2014

Produced by Mus?e de la danse / National Dance Center of Rennes and Brittany (France) — Directed by Boris Charmatz. The association receives grants from the Ministry of Culture and Communication (Regional Direction of Cultural Affairs / Brittany), the City of Rennes, the Regional Council of Brittany and Ille-et-Vilaine General Council. www.museedeladanse.org
The Institut fran?ais regularly supports the international touring of the dancing Museum.

Coproduced by Ruhrtriennale-International Festival of the Arts ; Th??tre National de Bretagne-Rennes; Th??tre de la Ville and Festival d’Automne Paris; steirischer herbst Graz; Holland Festival Amsterdam; Kunstenfestivaldesarts Brussels, K?nstlerhaus Mousonturm Frankfurt am Main

Created at the Ruhrtriennale — International Festival of the Arts 2014

Thanks to Imane Alguimaret, Marguerite Chass?, No? Couderc, Lune Guidoni, Hypolite Tanguy, the students from P.A.R.T.S. (Brussels) and from the Master-Studiengang Performance Studies (University of Hamburg), Alexandra Vincens

Duration: 1 hour


©Beniamin Boar



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