Research residency at Kashdance-CIAM

For a week in October, I had the opportunity to work with Jo Bruhn and Jennie Zimmermann in a dance studio in the center of Marseilles.

The space enabled us to practice Contact Improvisation on a daily basis and to focus on several technical aspects (lifts, gradual weight transfer, bodytone, etc.). After sharing our wishes and needs, we started with contemplative dance practice. Contemplative dance, also known as CDP and defined by Barbara Dilley in the 1970s, sets a serene framework for a conscious movement session, an awareness of the self and the space. It can be

20 minutes sitting meditation
20 minutes personal practice (warming up)
20 minutes open space (trio dancing in our case)
5 minutes collecting/meditating

Au studio Collecte Pharo Prophète Sormiou

We used CDP daily and adapted it to our technical explorations.

Friday 19:            20-40-(2 x 20)-2 + tech explorations + jam with Phyla

Saturday 20:     20-40-40-2 + tech. explorations

Sunday 21:          20-40-(3 x 20)-3 + reading a text by Françoise Dupuis (be able to invent… unveil your fears, take risks)

Monday 22:      rest in the morning ; walk in the Calanques, absorbing landscape

10 minutes contemplation + 20 minutes trio at sunset on Sormiou’s rocks

Tuesday 23:            indoor and outdoor

CDP 20-40-40 at the parc du Pharo (along with plenty of holiday kids)

Sharing in studio in the afternoon, improvisation on specific themes (in/out, duets, lifts, witnessing, etc.)

Weds. 24 : class with Silvia Sirizman (working on falling and contrasting slow and fast)

CDP at the plage du Prophète, peaceful and contemplative sunset atmosphere

12-21-(3 x 7)-2

Thursday 25 :              20-40-(20 + 3 x 7)-2 in studio in the morning after collecting our impressions and benefits from the week

CDP at the plage des Catalans close to volleyball players.

11-21-3×7-3

We paid special attention to the subtle changes occurring in our body-minds when working inside (closed space) and outdoor.  How does our direct environment (from its sounds and smells to its shapes and colours) impacts our dance. We also realised that the practice can be perceived as a performance by curious passers-by.

One of my objectives of the week was to care for transitions, stay honest to the impulse and to stay in the dance between two lifts.

From the onset we agreed on filming some of our improvisations. On the one hand to get used to the presence of the lense, an additional witness. On the other to keep a documentation of our work.

Thanks a lot to Gisbert Schürig who played without fee for the groove jam on October 19th, and who filmed our improvisation on the plage du Prophète.

Many thanks to Elise Mautalen from Kashdance-Ciam as well for the invitation to use the studio space. In return, Jo Bruhn and I agreed to perform our piece on planned obsolescence at a later date (TBA).

mise en commun des envies 18 octobre

Nuits blanches or sleepless nights in Autumn

Because there are so many things to do instead of sleeping… Come to Paris (on October 6th) or to Marseilles (on October 13) and see us dance, improvise, sleep, being Jocaste and OEdipe all at once.

Chambre, a performative and green installation inspired by the 3rd act of La machine infernale by Jean Cocteau.

AFF_NUITB_2018_halleluja

More info and bookings for Marseilles

https://www.lembobineuse.biz/events/2018/10/13/chambre

 

Happy days before summer

After a very nice workshop (Smell & Dance) given at a contact improvisation festival in Germany, CONTACT TIME #4, I am planning another movement workshop offered for a theater festival organised by Rostock University

rencontre en scène plakat

I am truly honoured to take part and to be able to perform my new solo called Beyond (gender) on a soundtrack by Marvel Flandergan.

For the complete line up, click here

https://www.romanistik.uni-rostock.de/fileadmin/uni-rostock/Alle_PHF/Romanistik/BuehneKlasse/programm_rencontre_sur_scene_2018.pdf

Du moi au mois de mars, à L’Asile 404

Grande première inattendue, dans le cadre de l’appel du moi lancé par l’Asile ce mois de mars neigeux à souhait, je présente mes cartons peints sur le thème de l’addiction à la jouissance et à la reconnaissance. Dans quel état mon moi erre-t-il en cas de dépendance ? Dans quel état vit mon cerveau pendant l’instant magique de la jouissance ?

Venez-voir à l’Asile 135 rue d’Aubagne, ce jeudi 22 mars à partir de 19h, ce que Po_orny me? et De plaisir explosée ont à susciter, parmi d’autres travaux, installes et perfs.

IMG_20180320_202743

L’amour en février…

Oui à la dictature du calendrier ?
Non aux injonctions sociales du couple ?

Grande amoureuse devant l’éternel.le, Marseille-Provence a choisi l’Amououououour pour thème en 2018.

Et je me suis retrouvée à performer sur le sujet, le 17 février, avec la compagnie ça s’aKroche et neKomata ainsi que d’autres artistes de l’Asile 404 sur la Ligne 49, la fameuse Ligne d’Amour marseillaise …

Lucie Laurenti a créé une superbe vidéo rendant bien l’esprit à bord, jetez-y un oeil.

Et pour citer tout le monde et la joie des passagèr.es, je ne dirai qu’une chose :

Remerciement_La_ligne_d'amour_Def

Un hiver fructueux…

A fruitful Winter…

Up to now, Winter bore many fruits. Beside the glorious Mexican ones, I’ve been able to enjoy some degrees of Parisian life in November. I took part in Dance-Theater masterclass (a cocktail rather rare in France which so likes to divide subjects) in a mythical institution for French indie theatre : l’ARTA-Cartoucherie. We learned texts from Shakespeare and Racine – a fantastic opportunity to breathe in and out different ways of thinking and talking.

For 10 intense working days, Jean-François Dusigne and Nabih Amaraoui  helped us expanding breath, uttering fine classical verse while moving in space. They also gave us the opportunity to learn from each other. At the end of the masterclass, each participant presented a 10 minute scene of Berenice integrating an excerpt of The Merchant of Venice. How terrible to think that the decision on how do I embody a character will be influenced by the translation. When I read the words Jean-Michel Déprats wrote, Shylock does not seem so much of an alien/outsider anymore. His language is convincing and practical but not as “bad” as it is in the original.

One thing for sure, 10 days are not enough to explore the merging of two arts, not enough to start devising a choreography for a specific character. So in the end, we were all thankful and asking for more.

In the meantime, the splendid online zine called sexplus published one of my poems and presented my eya series. This is an exclusivity as the works are not yet shown on this website !). I feel honored to be able to reach out more and look forward to exchanging views as this collaboration is not over.

On the French side, in Marseilles, I still very much enjoy the landscape and the possibility to dance with the wind and the rocks… when not sharing a training based on Klein technique. I am grateful to Natalie Hofmann who asked me and Fabio Bello to stand in for her Release into Contact class on Thursday night. A very beautiful and dynamic class called We are all BAMBI.

I wonder what Spring has in store for me…