8pm. Living room. Music, friends, drinks and food. Muffled thunder. I walked in the unlit bedroom and opened the window, smelling the gentle rain in which stood a black-clothed man. When watering the land with a hose, he encounters a dying octopus. After a bite, he retains it in a fish tank. He takes a …
Marco da Silva Ferreira on Carcaça
Born in 1986, Marco da Silva Ferreira is a rising Portuguese choreographer on European stages. Prior to discovering street dance in his hometown Santa Maria da Feira at the age of 16, his main body practice came from professional swimming. He received a degree in physiotherapy before fully dedicating himself to dance, first as a dancer and …
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Alice Ripoll – un regard, une posture – portrait de chorégraphe
Alice a toujours été curieuse du mouvement du corps. A son adolescence, sa connaissance de la danse se limitait au , compagnie brésilienne de danse contemporaine. Introvertie et timide, Alice aimait explorer des mouvements et postures toute seule dans sa chambre. « Il ne s’agit pas du tout de danse» dit-elle. Elle n’a appris les …
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Immersive for Whom? A Writer and Two Artists Discuss
From (LA)HORDE’s takeover of the Théâtre de Chaillot to Nadia Vadori-Gauthier’s trio at the Musée d’Art Moderne of Paris, immersive performances have featured prominently this season in Paris. This is not a new form in the history of dance, but its dynamism is reaching new audiences today. The dance writer Hang Huang met the Italian …
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Thr(o)ugh by Damien Jalet
Dark space. Flashing lights. I can only see one tunnel, mysterious and futuristic. Suddenly, a montage cuts the long take shot: here and there, humans appear and disappear. In those sequences of running and falling, I feel the panic; it must be something severe. Everyone holds the last hope and human solidarity makes the situation …
Caer Caer Caer
Lights dim. The sounds of a metal punch and a ventilator unfold our imagination behind the curtain. Soon the stage discloses a ritualistic scene: a chair on top of a table forming an altar, black-clad Spanish choreographer Richard Mascherin powdering the centre to generate smoky air; another man in the shadows produces the sound partly sourced from …
Best Regards
Dear Marco, When I enter the Theater of Vanves in the south of Paris, I see a stage framed like an A4 paper, with a 90-degree folded header made of light panel. Indeed, it is a letter from you to “Dear N”, brightly illustrated on the header. You appear on stage, talking to us casually …
Monument 0.10: The Living Monument
The duration of Eszter Salamon’s Monument 0.10 The Living Monument is indicated on the ticket: 2 hours. When the charcoal-black scene emerges from the darkness, I feel like somebody has slowed down my playback. I cannot measure the tempo but I know that a speed of 0.5x will double the duration. Will it turn into a crescendo?
挪威国家当代舞团Carte Blanche：《纪念建筑物编号0.10——活着的记忆》
演出票上清晰地注明着开演和结束时间，也就是说时长为两个小时。当黑衣黑景缓缓从全黑中浮现，似有人调慢了我的眼之所及。倍速无从可知，但0.5倍速意味着时长翻倍。会……渐快吗？ 很遗憾，没有。舞台陷入一种周期循环：服装布景单色统一，重复声响让人镇静，蒙面舞者们动作慢得小心。舞台上变化细微，如同万物生长般不易察觉。然而服装精美多变，隐喻重重，值得细品。更值得一提的是，服装均为回收再利用。 这时，两位猩红舞者唱起了悠扬的歌谣，歌声中孕育缠绕着的两个猩红生命。循环被打破，猩红之后亦再无暗色。鲜黄的站立雕塑试图拉船上岸，荧光橙的奇异生物警示全球变暖，金色立人俑晃动着璀璨的文明。 当14位舞者在白色中脱下面具时，让人动容。那一幕仿若天地初开，而如今的我们……《纪念建筑物0.10号——活着的记忆》整体冗长，但耐人寻味。算迷人还是枯燥？算装置还是编舞？算循序渐进还是自我重复？算自以为是还是野心过大？散场后，观众意见两极，世界依旧分歧。 编舞家埃斯特·萨拉蒙（Eszter Salamon）受邀为挪威国家当代舞团Carte Blanche编排了这部作品，主题延续她自2014年起关于纪念建筑物的思考。该作品继今年三月世界首演后于卑尔根十月国际舞蹈节（OKTOBERDANS 2022）再次展演。
从“小老鼠”到“星星”——法国芭蕾教育今夕
（写于2019年，发表于《光明日报》）最近，《早安美国》的主持人Lara Spencer公然取笑六岁的乔治王子学习芭蕾一事引起了不少愤怒。有些人会觉得，一个男生学芭蕾有些奇怪。但是实际上，还有更怪的事情，那就是一群男生跳芭蕾。英国编舞大师马修·伯恩爵士的《天鹅湖》近来就在中国巡演，这部舞剧引起不少关注，因为它颠覆了人们对于“四小天鹅”的传统概念。通常这些天鹅都是由女芭蕾舞者表演，然而这部剧则是全男舞蹈演员阵容。虽然《比利·艾略特》这个电影获奖无数，这个讲述追梦芭蕾的男孩故事也感人至深，虽然芭蕾这个舞蹈艺术已经存续几个世纪之久了，但是大众对于芭蕾的成见依然不减。继续阅读
Dance Visa 