la Biennale di Venezia
Main Visual Sezione Danza EN (new)

Dance


Degree Zero

Biennale Dance

30th March > 30th June 2009

Centre National de Danse Contemporaine Angers

Teatro Piccolo Arsenale
21 June, 10:00 p.m.
Emmanuelle Huynh, A Vida Enorme / FAC 2
Trisha Brown, Newark Re-Worked
Alain Buffard, S.E.S.A.
 
A Vida Enorme / FAC2
choreography Emmanuelle Huynh
art directors Nuno Bizzarro, Emmanuelle Huynh, Catherine Legrand
cast Aina Alegre Valls, Asli Bostanci, Pauline Brottes, Pia Campos, Armelle Dousset, Amandine Etelage, Charlie Fouchier, Hugo Giordano, Cosima Grand, Maëva Lafitte, Pauline Le Marchand, Adrien Lizé, Xin Yun Lu, Elsa Wöss
music editor Benjamin Sehili
lighting Nicolas Diaz
duration 25’
 
Newark Re-Worked
adaptation based on  Newark (1987)
choreography Trisha Brown
art director Stacy Spence / Trisha Brown Company
lighting Stacy Spence
music Peter Zummo
costumes Laure Chartier
cast Aina Alegre Valls, Asli Bostanci, Armelle Dousset, Amandine Etelage, Charlie Fouchier, Hugo Giordano, Pauline Le Marchand, Adrien Lizé, Xin Yun Lu
costumes assistant Sonia Bosc
duration 20’
 
S.E.S.A.
choreography and lighting Alain Buffard
cast Aina Alegre Valls, Asli Bostanci, Pauline Brottes, Pia Campos, Armelle Dousset, Amandine Etelage, Charlie Fouchier, Hugo Giordano, Cosima Grand, Maëva Lafitte, Pauline Le Marchand, Adrien Lizé, Xin Yun Lu, Benjamin Sehili, Elsa Wöss
lighting technician Nicolas Diaz
costumes Misa Ishibashi
costumes assistant Aurélie Kerbiquet
duration 40’
 
Creations of the École supérieure de danse contemporaine
Program realized with the support of the pedagogical and administrative staff of CNDC - Centre national de danse contemporaine Angers
 
Produced by CNDC - Centre national de danse contemporaine Angers, La Biennale di Venezia
With the support of Nuovi Mecenati, nouveaux mécènes – A Franco-Italian foundation supporting contemporary creativity

Founded in 1978, the Centre National de Danse Contemporaine Angers belongs to a model of training and production that has helped make France a leading country for dance in the world. In the hands of artists of such calibre as Alwin Nikolais, followed by Viola Farber, Nadia Croquet, Joelle Bouvier and Régis Obadia, the centre is currently directed by Emmanuelle Huynh, choreographer and artist of Vietnamese origin, former ly at Béjart’s Mudra, and an exponent of the new generation of the 1990s, associated in some ways with the so-called “ danse conceptuelle” or “non danse”.
For the Biennale, the centre is presenting a triptych of choreographic works: the revisitation of a 1987 creation by Trisha Brown, Newark/Re-Worked, one of the most dazzling examples of the fluid, energetic and unpredictable dance of the great American artist. This will be followed by S.E.S.A., or “Strategies of emancipation of the ‘subjected’ subject”, a new choreography by Alain Buffard, a dancer with Alwin Nikolais at the time of the Angers years; successively Buffard danced for Régine Chopinot and Philippe Decouflé, among others, before becoming a leading choreographer in his own right. The evening concludes with A Vida Enorme/FAC2, which remodels a work originally conceived by Emmanuelle Huynh in 2003.
 
A multiplicity of vital energies exists, and this is the starting point from which I wish to debut with the 15 dancers of the CNDC. Fifteen personalities, fifteen stories, fifteen cultures, fifteen dancers at the start of their artistic careers. To receive, accept and work with another, it is is necessary to know how to recognised the complexity of the factors and influences that form us and permit us to question our diversities, imagining the opening of spaces of freedom for oneself and for others. Freedom is feeling that we are doing and are capable of being “acted upon”; among the things that transform me personally and impel me to ‘do’ is indignation, a social, political indignation, an indignation against prejudices of all sorts. Among the themes I wish to raise with these fifteen young dancers is this point: what makes you angry today and what do you do with this anger? In other words, how can we communicate this anger and transform it? A strategy of liberation for the “subjected” subject.
Alain Buffard 
 
In Newark, for the first time, Trisha Brown forces the physical limits of the dancers to extremes, involving them in duets of great complexity. For many years, Trisha Brown has collaborated with some of the most important visual artists, composers and designers of the moment, such as artist Donald Judd and composer Peter Zummo.
The dancer-choreographers are able to learn Newark from the original version of Trisha Brown but can also experiment with the assimilation of this piece by integrating it into their version of the performance. The idea of enabling the students to effect their own creative experience with a performance from the company’s repertoire is a unique opportunity to grow as dancers from a technical point of view, but also to establish themselves as creators.
 
To recreate A Vida Enorme, the students of the choreographic artist course worked on the individual elements making up the piece: the sound track and the danced duet. With the help of Nuno Bizarro, Emmanuelle Huynh and Catherine Legrand, they have chosen the moment and place to enter the scene, as also with the part of the choreography they wished to perform, thereby creating a new concatenation of fragments of choreographic writing. The new score of A Vida Enorme is improvised in this manner. The sound track has also been partly renewed, leading to a new perception of the show.
A Vida Enorme/épisode 1 was created in 2003 by Emmanuelle Huynh with Nuno Bizarro, who also performed it; Catherine Legrand subsequently intervened as performer in the place of Huynh. This is a duet divided into two distinct parts and planned like a film in which the sound track and image are separate and brought together subsequently.
CNDC