COMPAGNIE MARIE CHOUINARD

BIENNALE DANZA 2018

COMPAGNIE MARIE CHOUINARD Biennale Danza 2018

source:labiennaleorg
The programme of the 12th International Festival of Contemporary Dance of the Biennale di Venezia will bring to the stage, in the spaces of the Arsenale in Venice the artists whom I believe today represent the essence of dance as nourishment for the mind and the intellect rather than as a pure aesthetic object.

The two leitmotifs of this second edition are: “breathing as subversion and strategy” and “choreographic creation and interpretation: two indivisible opposites that mutually nourish one another”.

The choreographers we have invited create their works without using a previously codified language: their language develops as the creative process unfurls, generating new relationships with the space in which the dancers move, leading the spectators to discover unfamiliar places and new mental and emotional landscapes.

One example among many is Meg Stuart, who has been awarded the Golden Lion: as an artist she has developed a new language and a new method with each creation, exploring physical and emotional states, new contexts and new territories through improvisation and the collaboration with artists working in different disciplines.
This year’s edition of Biennale Danza presents several artists who work with live music, such as choreographer Marlene Monteiro Freitas from Cape Verde, the winner of the Silver Lion award, who in her Bacchae/Prelude to a Purge brings dancers and musicians together on the stage to perform the same choreography, highlighting the powerful bond that exists between dance and music. A bond that will be heightened in other works such as: Some Hope for the Bastards by Frédérick Gravel and FLA.CO.MEN by Israel Galvàn.

The Festival will feature five world premieres: Quite Now by Irina Baldini, the young Italian choreographer who participated in last year’s Biennale College, Sacre du Printemps by Xavier Le Roy in a new version for three dancers, Animale by Francesca Foscarini, Radical Vitality, Solos and Duets by Compagnie Marie Chouinard, and the New creation by Daina Ashbee for the dancers of the Biennale College 2018.
The Festival will be enhanced by meetings with the choreographers, and film and documentary screenings.

Biennale College – Danza will continue to open to young choreographers and dancers and will present the same programme developed during last year’s edition.

The young dancers, selected through an international call, will number 15 (including 8 Italians).
Throughout the three months of their learning experience, they will study the contemporary repertory with the teachers, and during the 12th International Festival of Contemporary Dance, will perform Marie Chouinard’s 24 Préludes de Chopin and a New Creation by Daina Ashbee.

The three young choreographers selected in the call will work for a period of 6/7 weeks during which they will develop new creations to be performed by seven professional dancers selected for this purpose. At the end of the programme there will be a public performance as part of the Biennale Danza 2018.

Both the College experiences, for the dancers and the choreographers, will open the doors of their workspace to the public for three days, before the beginning of the Festival.
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source:labiennaleorg
The 12th International Festival of Contemporary Dance, titled Breath, strategy and subversion, ran from 22 June to 1 July showcasing several daily events. This year too the Biennale College – Dance has scheduled its activities: three specific projects (Dancers’ project, Choreographers’ project, and a selection of Professional Dancers) were included in the Festival’s programme.

The awards of the Biennale Danza 2018 have been attributed to American dancer and choreographer Meg Stuart, who received the Golden Lion for Lifetime Achievement, and to Cape Verdean dancer and choreographer Marlene Monteiro Freitas, who received the Silver Lion. The award ceremonies took place on the Festival’s opening day, 22 June, and on 28 June, respectively.
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source:siparioit
La direttrice della Biennale Danza, Marie Chouinard, si è ritagliata, in qualità di coreografa della propria “Compagnie Marie Chouinard”, la seconda serata in calendario del Festival Internazionale Danza, preoponendoci per oltre due ore, con intervallo aria, una sorta di maratona di sequenze, ben 30, di assoli, duetti, terzetti, e alla fine, dietro le maschere fisse di innocenti fanciulli sul volto di ciascun componente la Compagnia, quattro uomini e sei donne, ce li ha mostrati tutti insieme come natura li ha fatti: nudi.
In questo catalogo-collezione, generoso nella sua lunghezza di sequenze, abbiamo visto e udito di tutto: movimenti contratti, azioni iperagitate, grida, fonemi, risate, zoppi, deformi, oggetti in azione, frammenti di parole recitate, cadute, proiezioni, corse, maschere di vecchie che si esibiscono, di tutto e di più dell’universo creativo solipsistico, esibito, della coreografa, che ha pescato a grandi mani sui comportamenti dell’essere umano, raccolti sotto il titolo “Radical Vitality”.
Una dimostrazione imposta, senza misura, elargita al pubblico accorso in grande misura e disponibilità.
Ammirevoli sono stati i danzatori che hanno seguito con professionalità, senza batter ciglio, il dettato della loro curatrice, che amiamo citarli per la loro bravura uno per uno: Sébastien Cossette-Masse, Catherine Dagenais-Savard, Valeria Galluccio, Motrya Kozbur, Morgane Le Tiec, Luigi Luna, Scott McCabe, Sacha Ouellette-Deguire, Carol Prieur, Clémentine Schindler.
Ma anche il lavoro complesso dei tecnici addetti agli effetti di luce, alla fonica, ai cambiamenti di scena fatti al buio, fra una sequenza e l’altra, è stato superbo. Da ringraziare.
Solo in poche sequenze, il pubblico, basito dal succedersi degli eventi, ha applaudito timidamente: nel quadro delle mani proiettate su un grande schermo di due danzatrici che s’incontrano, dando vita ad un succedersi d’immagini poetiche e suggestive, e nel quadro finale dei bimbi che avanzano frontalmente verso il pubblico e lo indicano in modo accusatorio.
Alla fine, il folto pubblico, ma qualcuno durante l’intervallo si è defilato, rimasto presente nella sala-teatro Piccolo Arsenale, risvegliatosi dalla propria attenzione, non ha lesinato gli applausi.