Chalon Dans la Rue, The 7 Minutes by Compagnie Volubilis © Araso

Chalon Dans la Rue Festival, we were there: 7 minutes with Volubilis

Attention please: this is a gem. At Chalon Dans La Rue Festival, the OFF Festival, we attended the 7 minutes, a dance stroll by Compagnie Volubilis.

At a crossroads, a woman with a suitcase is waiting. For something, for someone. She hails cars and passers-by. Using her natural environement as her set, she starts to dance. 7 minutes later, the public is taken into a dead-end where they don’t even notice the tramp seated on his bench, a beer in his hand. A woman walks by and he assaults her. Shock. They start a crazy ballet and the attacked takes over the attackant.

The coming scenes are delirious: a loony cityhall, two best men straight out the 1970s, chases, more dance. The actors and dancers are incredibly gifted. The whole show is exceptional.

The 7 minutes is all we love about street theatre: we never know where it begins, where it ends. We scrutinize every passer-by as they may be part of the show. We learn to look again.

Images © Araso

Compagnie Volubilis, the 7 minutes
Duration: approx 1h30

Chalon dans la Rue Festival
Every year in July, in Chalon-sur-Saône, a festival dedicated to street artists.


Lisbeth Gruwez, We're Pretty Far From Ok, Festival d'Avignon 2016, Illustration: Araso.

In Avignon, dance is the other face of anxiety

After The Damned and Heroes Place, dance takes anxiety over at Avignon festival with rare and aestheticising performances.

Belgian choreographer Lisbeth Gruwez studied at Anne Teresa de Keersmaeker‘s P.A.R.T.S. and worked with Jan Fabre, with whom she’s created I am blood in 2001 in Avignon. In 2004, he made her drown in a flood of oil in the resounding solo Quando l’uomo principale è una donna. She comes back to Avignon this year with her creation We’re pretty far from ok.

In duet with Nicolas Vladyslav, who’s worked with Sidi Larbi Cherkaoui just like her, she is the embodiment of anxiety. Both their bodies move with absolute beauty, convulse, breathe, go into spasm and release without ever leaving their chairs.

Walled up in their internal agitation, they touch but can’t see each other. Deprived of desire, blind bodies clutch aimlessly.

As the train of terror goes by, sounds grounds us to our seats. We come out light and clean ; our fears have been drained out by the show.

It’s stiff and it’s sublime.

Illustration © Araso

We’re pretty far from ok, Festival d’Avignon 2016,
Choreography LISBETH GRUWEZ
Antwerp
Gymnase Paul Giéra, from July 18th to 24th at 18:30
Creation 2016, 1h


Julien-Henri Vu Van Dung pour Thomas Lebrun

Thomas Lebrun brings Paris Conciergerie back to life

The former jail of Conciergerie de Paris is where the magic happened on the night of June 16th. French choreographer Thomas Lebrun recreated his sublime show for 12 dancers, Où chaque souffle danse nos mémoires (literally meaning: «Where every breath dances our memoirs») originally thought of for Monuments en Mouvement’s 2015 edition.

After a quick blink at Clément Dazin‘s unforgettable juggling on Mont Saint-Michel in March, we were already totally excited by Monuments en Mouvement’s 2016 batch. THAT, was the apotheosis.

A mind-blown, very moved American spectator came up to me at the end of the show. She’s from Philadelphia where her son, who specializes in post-traumatic architecture, is building a memorial.  What amazed her in the choreography was «the intensity in the dancers eyes; it tells so much about this place’s history». She further comments: «I don’t have all the references and there are some moves that I didn’t understand. But it was beautiful, so compelling… I will never forget what I saw.»

Video © Araso


Anne Teresa de Keersmaeker Illustration

Anne Teresa de Keersmaeker: "La Nuit Transfigurée", a lesson of romanticism

What is romanticism? Is it all in the past? For Anne Teresa de Keersmaeker it starts with a naked set and the raw light of the moon. Then two men and a woman. Jules and Jim transfigured by Schönberg’s 1899 music sheet. She whispers to his hear that he’s not the child’s father.

Her vintage flowery pink dress is too small for her though it’s an extra large size. Her beauty, her knife-cut fringe, her palish skin and naked face are simply fascinating. And when her partner starts to move we’re just crazy in love.

It is magnificent, forty-five minutes of ecstatic danse flying too fast through the public’s emotion-dyed eyes. The posture of the man standing, with the girl’s thighs pressed around his face is one of the most unforgettable images ever. This is not a show. This is an Austrian lake lost somewhere in the dark.

Romanticism is this wild animal that will get you drunk if you can tame it.

Illustration © Araso

Anne Teresa de Keersmaeker – La Nuit Transfigurée au Théâtre de la Ville – Paris – Du 7 au 15 Juin 2016