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Sibi Larbi Cherkaoui

The global dance and religious Sibi Larbi Cherkaoui

from Hildegard von Bingen, the medieval religious mystic and musician, in the Henan Shaolin monks, mystics and religious teachers of Kung Fu ....

"What I did with the Shaolin monks is a work of martial arts combined with the scene of Anthony Gormley and the music of Polish Szymon Broski. We start with the traditional forms of Kung Fu: I will work, I compose directions and in different times and so has become the dance. During the tests we talked a lot with the movement: I showed them things and they repeated. Their movement of martial arts developed in a different direction becomes something else. Party as Kung but in reality it was dance. Because of the music, set design and directing everything changes and takes on a new look. Become a dance, only pieces of the whole. "

... the movement of their martial art is often based on animal movement ... which fits with my need for now to go more toward the animal world, to know to imitate him. Move, have an animal instinct. "

lot of irons in the fire ... some critics complain that the second of which produces a continuous stream shows ...

" I've always worked at this rate. Just before, when I was not known, we knew less. I was not so popular ... And then the dance is my life. I could not do anything else. And like I say: too live, live without. "

" ... put me in the cage even smaller and I feel the same free. For ten years I do this. I love the differing performances ... why do not correspond to anything definite: it is not musical, opera, ballet. And my style is a form that progresses and develops. I do not like those who say you should be like this or duel. Larbi and I want to be just. "

extracted article from Dance Dance &

Sergio Trombetta

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Sergio Trombetta

Paris.

Mats Ek as it was in the past and how it is now. Brigitte Lefèvre invited to prepare two of his songs for the Paris Opera Ballet, the choreographer of Sweden, which in recent years has given us brilliant interpretations of contemporary classics such as Giselle or Sleeping Beauty, has chosen two tracks are very distant in time: "The House of Bernarda Alba" by 78 and "A sort of" 1997.

Inspired by the drama of Lorca, danced to music by Bach and English guitars, The House of Bernarda expressionist is wrapped in a climate where stands the contrast between the servant and the sensuality of the popular boy and the repressive and authoritarian world of the widow Bernarda and her daughters.

AND M. Legris ... is resounding in the travesti role of Bernarda: woody, masculine, tragic, a personification of the severe and Franco Spain. Mother and daughters make up a group of crows cawing black birds and take as the servant. ... The seventies were those of the undertaking, the complaint against the authoritarian family and sexual repression.

Over time ... the choreographer has resulted in the subjects more reflective, personal.

"A sort of" ... presents us with a couple ... in front of the unconscious. That is all that is hidden behind a door. When the dream prevails and the stage is revealed in the totality here take over the world grotesque Ensor, populated by men in Magritte.

Here the mature style of Ek unfolds in full. Topics include symbols and tic ...

taken from

"Mats Ek Opera between expressionism and unconscious"

Sergio Trombetta

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Dominique Bagouet

"Yes, I want to say that there is a French dance. He has nearly ten years ... a strong expansion has produced many young artists, but no place to express themselves, perhaps because there are too many. He has produced a lot of research but is not very official.

Dance in France is still dominated by the classic. If we talk of contemporary choreographers like Claude Galllottà, Queens Chopinot, Daniel Larrieu, the undersigned or should not believe that we have too many resources to work. For my part I can not pretend to have more than ten dancers in my company. Why can not I have a studio or a small repertoire of research constantly. E 'is an example.

The dancer is fragile. And I feel too often locked away because of limited resources. If the French dance exists, it does not have the means to really live. If contemporary dance has a great media recognition, there is a institutional point of view.

At the same time would be a shame too institutionalized, but the difference with the classical dance institution that is that does not run the risk of humiliated "

excerpts of the interview (1991) to

Dominique Bagouet

Monica Roccaforte With The Priest

Loik Touzé

" is not only the distance that matters but the quality of motion: if this is strong gaze moves away intimidated, so to speak, and try to "survive" the vision. Instead the material is more weak and more the eye is approaching. "

" What I love is the interpreter. The interpreter's job is to act. The dance is not about representing the world, that it is already the scene trying to tell the meaning. The search for places to dance action ... act the way, do the space ... "

Loik Touzé

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Teshigawara

Life, dancing ... all live together in perfect harmony. In both cases, I seek the beauty . I believe that beauty comes from the unknown, the mysterious, even from our state of mind. We are being flexible and changing, ever-changing.

I am one of those people are always ready to reveal the unknown, beauty, and then turn them into theater, dance, movement ... pure feeling. "

S. Teshigawara

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Anna Huber

rigor and the risk, accuracy and provocation, the seriousness and irony. ..

mean the choreography as investigation of boundaries and limits, a continuously put to the test by exploring new parts unknown.

I like things from the simple and essential, often abstract tied to my conception of the dance, but also intimate and personal.

Anna Huber

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Mario Pasi

... at this point would need to Italian artists and companies to come back to think about the importance of the consent of the public: Time provocation is over, the last rebel rearguard battles are now poor and too many mediocre artists, as they used to say, "football the scenes. " Actors who can not play, dancers who can not dance, comedians are not funny are always ahead of us, while the juggernaut television homogenizes all down ...

Mario Pasi

(Dance and Dance-June 2008)

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Still looking for excuses?

screening?

superficial?

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Teshigawara

The relationship between the physical and sounds around us is very narrow. We scream when our body is tense, in whispers and silences tend to rilassarci.Tutto this is in our unconscious and dance transforms it into an image.

Saburo Teshigawara