/ THE NATIONAL BALLET OF MARSEILLE

Limassol Ballet 2015 / "BOLERO-TWO" dance

/ THE NATIONAL BALLET OF MARSEILLE

Limassol Ballet 2015 / "BOLERO-TWO" dance

/ THE NATIONAL BALLET OF MARSEILLE

Limassol Ballet 2015 / "BOLERO-TWO" dance

CORPS du BALLET NATIONAL de MARSEILLE

EMIO GRECO I PIETER C. SCHOLTEN

Since 1995 Emio Greco and Pieter C. Scholten have worked together in their joint search for new dance forms. Out of curiosity for the body and its inner motives they created their first joint work in 1996: the solo Bianco, which became the first part of the trilogy Fra Cervello e Movimento (between brain and movement). In that same year they wrote a manifesto setting out 7 principles of dance and their impact on the body and the spectator. They founded dance company Emio Greco | PC in 1996. From the beginning it has been more than a dance company: it promotes a broader attitude towards the consciousness of the body.

emio greco | pc

After the internationally successful dance productions that Greco and Scholten created between 1996 and 2001, they shifted their perspective and that of their company, to opera, music and film. At the request of the Edinburgh International Festival they directed two operas: Orfeo ed Euridice and The Assassin Tree. Together with Dutch leading theatre company Toneelgroep Amsterdam, they staged Pier Paolo Pasolini’s Teorema. In 2004, a continuous project, Double Points: + , about dance, music and interactivity with contemporary Swiss composer Hanspeter Kyburz followed. In 2009 they joined forces with world-class Dutch violist Janine Jansen and Swedish clarinetist Martin Fröst. These interdisciplinary excursions gave rise to the trilogy that is inspired by Dante’s La Divina Commedia. In 2006, the first part, the highly acclaimed dance production HELL premiered, in 2008 the second part [purgatorio] followed in the Holland Festival. The final part, you PARA | DISO, premiered in 2010.

recent creations

Some of the more recent works are Beyond Seoul (2009-2010), Le Corps du Ballet (2011, with Ballets de Monte-Carlo and in 2013 with the National Ballet of The Netherlands), La Commedia (2011), Rocco (2011), Passione in Due (2012, with composer Franck Krawczyk), Double Points : Extremalism (2012, with Ballet National de Marseille), Addio alla Fine (2012, at Holland Festival), Double Points : VERDI (2013, Julidans festival) and Soprano’s.

In November 2013, Greco et Scholten created L’Etranger, based on Camu’s novel, at Théâtre du Jeu de Paume in Aix-en-Provence, at the occasion of Marseille-Provence 2013. Emio Greco and Pieter C. Scholten have been awarded numerous national and international prizes, boasts widespread international recognition and has toured extensively in The Netherlands and all over the world.

ICKamsterdam

In 2009 Greco and Scholten decided to gather all their activities and they gave rise to the International Choreographic Arts Centre Amsterdam (ICKamsterdam). ICKamsterdam is a platform for contemporary dance and is grounded on three pillars: Productions (the production of dance performances), Guest Artists (the stimulation and support of new, young talents from both an artistic and a business perspective) and Academy (the transfer of knowledge in the dance field in educational and research programs). ICKamsterdam is part of an inspiring national and international dance context. Its partners for the coming years include Troubleyn | Jan Fabre (BE), Opera Zuid Maastricht (NL), Frascati Amsterdam (NL), Stadsschouwburg Amsterdam (NL), and Het Nationale Ballet (NL).

Ballet National de Marseille

In February 2014, Emio Greco and Pieter C. Scholten have been appointed directors of the Ballet National de Marseille. The plan proposed by Greco and Scholten for the Choreographic Centre envisages an intensive collaboration between the two institutions on a local level in Amsterdam and Marseille in which the advancement of innovative contemporary European ballet and cross-border talent development go hand in hand. On an artistic level the company continues the line the choreographers started at ICKamsterdam with the development of two main themes: ‘The Body in Revolt’ and ‘ Le Corps du Ballet’ which consists in the search for new forms of contemporary ballet.

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Concept and Choreography
Emio Greco | Pieter C. Scholten
Music Pieter C. Scholten
Lights design Henk Danner
Costumes Clifford Portier
17 dancers
Production Ballet National de Marseille
Corealisation Théâtre National de Marseille - La Criée
Collaboration ICKamsterdam
Duration 1h10
Creation 14/03/15 - Théâtre National de Marseille
La Criée

Genesis of the project

Greco and Scholten’s quest for a new identity for the CCN de Marseille undeniably takes a close and critical look at ballet. Both men acquired experience of the technique in their youth. With one starting out as a man of theatre and dramaturge and the other a high-profile performer for Jan Fabre, the starting point for their encounter back in 1995 was based on a quest for a different dance: a new approach centred on the classical technique and Greco’s powerful physical identity.

Invited by the Ballets de Monte-Carlo (2011) and then by the Dutch National Ballet (2013), Greco and Scholten were able to approach these two very classical ensembles with an eye and a technique that have been skilfully nurtured since their first artistic manifesto, the solo Bianco (1996). This desire to seek out and make new contributions to the ballet technique has also been inspired by Elias Canetti’s famous book “Crowds and Power”. The themes of synchronicity and the relationship between the individual body and the collective body are central to it. This course of action has enabled them to tackle classical ballet’s organisation and hierarchy.

Greco and Scholten are interested in ballet’s technical contours, but also in its social and even political contours. “It’s an artefact, an iconic word that contains a whole world in itself.” Used in various ways, the word has acquired a wider status than that of the technique standardised from Louis XIV onwards, to the point of being used in a general way as a sort of metonymy: “ballet” can mean dance in general in its different forms.

Le Corps du Ballet National de Marseille is the “ideal” project for launching Greco and Scholten’s process for the BNM’s new identity. This creation will continue their earlier research and introduce new momentum to the dialogue between classical and contemporary dance that characterises their work.

"bolero-two" dance
EMIO GRECO | PIETER C SCHOLTEN

This Dance & Music program will be performed in Marseille, in a special configuration that brings together the Orchestre Philharmonique de Marseille, the Ballet National de Marseille and the International choreographic arts centre I CKamsterdam.

Since the start of their careers in choreography in the mid-1990's, the new directors of the Ballet National de Marseille have worked on boundaries and the body's limits. From the outset it was about looking for their own way of creating an aesthetic, social and even political discourse centred on dance. The two pieces performed here powerfully epitomise the essence of their research. In the first part of the evening, the duet Two is a kind of virtuoso explosion of Greco and Scholten's approach.

This piece created for two dancers ok ICKamsterdam focuses on the utopia of synchronicity or how to share the same movement in the same space at the same time, with all the ruptures - or rebellions - that are implied. Another essential issue explored in Greco Scholten's work.

In Bolero, the BNM's dancers perform a dance that is as technical as it is volcanic and sensual, confronting Maurice Ravel's great monument The virtuosity is skilfully staged in an environment that is minimal, extreme and entrancing. For these performances in Marseille Opera House, the choreography is being accompanied by the Orchestre Philharmonique de Marseille, strengthening the osmosis between dance and music.

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  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

  • LE CORPS du BALLET NATIONAL de MARSEILLE

    LE CORPS du BALLET NATIONAL de MARSEILLE

Identities

For Greco and Scholten, everything began with and around ballet, so it is logical to return to these fundamentals in Marseille as well. Le Corps du Ballet National de Marseille is both a new beginning and a reinvention for the choreographers and for the company itself.

 

In this case, identity does not just mean the identity of the classical technique. Greco and Scholten are interested in the company and in its past, but they are also interested in each performer’s contribution to creating the show. The objective is not to construct new aesthetic figures, but to start from each person’s energy (and that of the company and city too).

 

“We’d like to be even more specific and explore in even greater depth in the quest for an identity. Seeking out the sources of ballet and, in a very constructed way, seeking a confrontation with our language. With and through but also by the bodies of the BNM’s dancers.”

 

The confrontation with Greco and Scholten’s own language will be undertaken individually and in a group in order to understand each person’s contribution and their physical identity and in order to form a close-knit, united group in the image of a corps de ballet, thus forming a body in its own right. “At the same time we’re trying to remain innocent and unaware, to learn with the dancers and from them. Our work will also consist of reading their language and their bodies.”

 

For this creation, the musical research has established a genuine “lexicon of synchronicity”, illustrated by references to some of the most famous classical scores for ballets such as “The Nutcracker” but also to astounding musical editing directly echoing the “patchwork” identity of Marseilles.

 

Greco and Scholten’s approach does not mean starting with a blank slate. Quite the opposite in fact. The identity of the company, shaped by its founder Roland Petit (1924-2011) and his inventiveness, is of particular interest to them during this first creation.

 

Faithful to their desire to create a lasting dramaturgy that can develop over the years and be inspired by both the past and present, in Le Corps du Ballet National de Marseille Greco and Scholten intend to look back at IERI (yesterday) to better express OGGI (today) and, in this present day filled with challenges, start again with the ambitious DOMANI (tomorrow) being planned for the CCN de Marseille.

SOPHIE FAUDOT ABEL
BALLET MASTER

French national Sophie Faudot Abel started her dance training in Noumea, New Caledonia, in 1973 before heading to the Ecole Internationale de Danse de Cannes in 1980, from where she graduated in 1984. The previous year, she obtained her baccalaureate in music and dance in Nice. Her career as a dancer began in Switzerland at the Stadttheater St Gallen from 1984 to 1985, followed by the Ballet du Grand Theatre in Tours under Jean-Christophe Maillot, where she stayed until 1989. In the early 1990s, she embarked on a career as a freelance dancer in Brussels, Belgium, working in particular with Jacopo Godani, Jone San Martin, Claudio Bernardo, Thierry Smits, Douglas Becker, Jean-Guillaume Weis, Randi De Vlieghe and Andrea Tallis. She encountered a wide range of dancers and choreographers which gave her the opportunity to tackle styles as varied as those of Neuemeier, Bejart, Morris, Bausch and Forsythe. This experience allowed her to develop a working method that combined the demands of the basic classical technique and the different artistic demands of the choreographers she was meeting. From 1992 until the early 2000s, in parallel with her dancing career, she worked as a choreographic assistant alongside a number of creators and gave daily lessons within their company, a role she fulfils to this day. She has also been a guest teacher at several companies in Belgium (including Charleroi/Danses, Ultima VezNandekeybus and The Loft), in Germany (Saarlandisches Staatstheater Saarbrucken/ THENATIONAL BALLETOF MARSEILLE Marguerite Donlon, Staatstheater Oldenburg/ Martin Stiefermann and Opernhaus Hannover/ Stefan Thoss) and in the Netherlands. In 2003-2004, she was awarded a German state diploma as a classical dance teacher by Kathy Bennetts at the Frankfurt Ballet. She then worked as the ballet mistress at the Stadttheater Darmstadt from 2005 to 2006, under the direction of Mei Hong Lin. She continued her teaching career with German companies (Mainfranken Theater Wurzburg/ Anna Vita and the Stadttheater Darmstadt) and at the University of Music and the Performing Arts in Frankfurt am Main under the Director of the Classical Dance department, Marc Spradling. In 2009, Frederic Flamand invited her to give classes in Marseille and appointed her Ballet Mistress in September 2010.

Frederic FLAMAND
CHOREOGRAPHER

Right from the very start, Frederic Flamand's career has been characterised by three main elements: encounter, dialogue and a certain utopia tinged with realism. He set up the group Plan K in 1973, using it to question the status and representation of the human body by integrating visual arts and audio-visual technology into the living spectacle, and thus laying the foundations for the interdisciplinary approach which still fuels his work today. Believing it important for a company to be linked to a venue that allows encounters, Frederic Flamand opened a multi-arts centre in an old sugar refinery in Brussels in 1979. Artists from all kinds of disciplines have performed there, including Bob Wilson, William Burroughs, Philippe Decoufle, Marie Chouinard and Joy Division. In the 1980s, Flamand collaborated with musicians the likes of Michael Galasso and Peter Gordon, commissioning compositions for his shows. He also worked with artists such as Marin Kasimir on the set design for "If Pyramid were Square". He first worked with the Italian video artist Fabrizio Plessi in 1989 on "La chute d'Icare" to music by Michael Nyman, followed by "Titanic" (1 992) and "Ex Machina" (1994) which concluded the trilogy. In 1991, Frederic Flamand was appointed artistic director of the Ballet Royal de Wallonie which he renamed Charleroi/ Danses. It was after this appointment that he worked more intensively on integrating classical dance and contemporary techniques in his work, convinced that it is more fruitful to make them talk to each other than set them against each other. Working with Charleroi/Danses, Frederic Flamand continued his creative work as well as organising international biennial events centred on chosen themes: "Bodies and Machines" in THENATIONAL BALLETOF MARSEILLE 1994, "Speed and Memory" in 1996 and "Gender" in 1998. In 1996, Frederic Flamand started reflecting on the relationship between dance and architecture, both of them being arts that structure space. This was how "Moving Target" and then "E.J.M. 1" and "E.J.M. 2" came about with the New York architects Elizabeth Diller and Ricardo Scofidio, followed by "Metapolis" with the Iraqi-British architect Zaha Hadid, the 2004 winner of the Pritzker Prize, and then "The Future of Work" for Hannover's Expo 2000 with the architect Jean Nouvel, with whom he also created "Body/Work/Leisure' . The multidisciplinary optics of its work led him to the head of the 1st International Festival of contemporary dance of the Biennial event of Venice 2003 and to the University of Architecture of Venice for which he was a holder of a workshop in the section arts and design. In 2004, Frederic Flamand is appointed general director of le Ballet National de Marseille. He creates "La Cite radieuse" his first creation for le Ballet National de Marseille, with Dominique Perrault ; "Metamorphoses" with the famous Brazilian designers Humberto and Fernando Campana ; "The Truth 25x a second" with the chinese architect-visual artist Ai Weiwei. In 2012, the Opera Theatre of Saint-Etienne invites Frederic Flamand to stage and choreograph Gluck's opera "Orphee & Eurydice" in collaboration with the Belgian visual artist Hans Op de Beeck who conceived the set and the images. This opera has also been invited at the Opera Royal de Versailles. In 2013, as part of Marseille-Provence, European Capital of Culture 2013, he creates "Sport Fiction" on the Marseille train station in front of 5000 people. In parallel, Frederic Flamand is appointed artistic director of le Festival International de Danse de Cannes for the 2011 and 2013 editions. Frederic Flamand will also be associated artist of Mons 2015 - European Capital of Culture.

Contact

Tel: +357 25 372855

Fax: +357 25 361290

e-mail: info@psproductions.com.cy

web: http://www.psproductions.com.cy

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