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Choreography and scenography: Angelin Preljocaj

Music: Stéphane Roy, Antonio Vivaldi

Costumes: Nathalie Sanson

Light: Jacques Chatelet

Rehearsal: Claudia De Smet

 

 

 

 

 

With Annonciation, Angelin Preljocaj takes an alternative perspective on the theme of "specter": Gabriel suddenly appearing in Mary's life to announce great change ahead -- for her life, her body, and the world to come.

Créée en 2010 au Suzanne Dellal Center de Tel Aviv

pour Incidence Chorégraphique

artistiC directOR:

BRUNO bouché

FRANCE

PAGE  PARTLY  TRANSLATED, AND  IN  MAINTENANCE
 PLEASE  EXCUSE  US  FOR  THE DERANGEMENT 

 

 

 

SONGS FROM BEFORE>LUCIDA CHILD

Choreography: Bruno Bouché

Music: Jean-Sébastien Bach

(Transcription pour piano par Ferrucio Busoni)

Pianist: Maxime Georges

Costumes: Thibaut Welchlin

Lighting: Tom Klefstad

duration >15 minutes.

Duet.


Alternating between austerity and softness, the Chaconne from Johann Sebastian Bach's Partita No. 2 accompanies two dancers who confront or embrace each other. An embodiment of carnal and spiritual forces, this duet inspired by Jacob's wresting with the Angel, oscillates between raw movements torn from the earth and the purity of lines of a possible sublimation.

« C’est l’oeuvre de Delacroix peinte sur les murailles de l’église Saint-Sulpice qui me regarde plus que je ne la regarde ; ça me regarde au creux même de ma nuit. Faut-il voir dans cette lutte une allégorie du combat de l’homme face aux forces qui le dépassent ? »

- Bruno Bouché à propos de l’oeuvre d’Eugène Delacroix


 

Créée en 2010 au Suzanne Dellal Center de Tel Aviv

pour Incidence Chorégraphique

Choreography, costumes and scenography:

Alba Castillo

Music:

Goldmund, Karin Borg, Bryce Dessner, Lawrence English, Brian Eno, Nils Frahm, Jóhann Jóhannsson, Bruno Sanfilippo

Lighting, scenography:

Lukas Wiedmer

Duration > 45 minutes.

Piece for 15 dancers.

 

 

 

 

 

 

Poussière de Terre explores the value of time and the strength of the group. Both are represented here by sand. The use of this material offers a parallel to our society, where each grain of sand represents an individual. A single grain of sand is insignificant... but when joined with millions of others it can become a mountain, a beach or a desert. (…) I hope that through these few dance steps, the audience can remember that we are vulnerable and powerless to time, but that by being aware of this fatality, and of the strength of our union, we can undoubtedly make the most of all the precious moments that life offers us. Alba Castillo

Choreography: William Forsythe

Music: Thom Willems

Scenography, lighting and costumes: William Forsythe

 

Piece for 12 dancerss

duration > 28 minutes.

 

An undulating screen traverses the stage diagonally to where a projector trolley stands. From the darkness emerge the ghostly figures of eleven dancers, their bodies in geometric convulsions contorting in the light against the throbbing rhythm of Thom Willems’ music.

"Enemy in the Figure» is a dark and thrilling poem about vision and perception, form and chaos. In a universe alternately frenetic and calm, «Enemy in the Figure» presents a non-narrative of mystery and urgency, isolation and connection, the mechanical and the human: dance as a medium for infinite possibilities".

Roslyn Sulcas, New York Times, Premiere by the Frankfurt Ballet, on May 13th 1989.

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SONGS FROM BEFORE>LUCIDA CHILD