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Danse de pièze (La)

Choreography Héla Fattoumi/Eric Lamoureux

Performers Moustapha Ziane & Hafiz Dhaou Sound Eric Lamoureux Lighting Xavier Lazarini Set design Frédéric Casanova Production Centre Chorégraphique National de Caen/Basse-Normandie

This male duo, The Dance of Pièze (La Danse de Pièze), explores the relationship between two men who are alternately peers and rivals. In this dance are instances of barely touching, pressure, impact, improbable points of support, movement in which the energy and the solid mass of the bodies become an invitation to share the sensation of this experience. At once desired, galvanised, entwined and rejected – the bodies of the two dancers are shaped through these exchanges, alternating between sensuality and confrontation.
Malek Chebel's ideas about homosensuality are reflected in this work. The expression has anthropological roots, meaning, « generally, a Middle Eastern point of view, more specifically Arab, in which in the absence of partners of the opposite sex, one carries over to one's peers the excess of sensuality which he cannot otherwise express ».
This work is clearly related to Héla Fattoumi and Eric Lamoureux's other work Pièze (Unité de Pression) (Measurement of pressure), in which an interactive structure associated body contact with an audio signal. The Dance of Pièze (La Danse de Pièze) retains the memory of the dance and the emotional and physical states emanating from and generated by the interactive structure, while also revisiting the original raw material of the choreography. Projecting the expressiveness of the bodies as a single vector of receptivity, The Dance of Pièze allows the spectator to feel a direct contact with this relationship of duality -- and with the dance flowing from it.

Fattoumi, Héla and Lamoureux, Éric

Lamoureux Eric

In 1988, Héla Fattoumi and Éric Lamoureux founded the company Urvan Letroiga. The duet Husaïs immediately received the award for best first work at the Bagnolet International Choreography Competition in 1990, bringing them international recognition.

Since then, they have sketched out the contours of a protean œuvre that enjoys juggling unpredictable bifurcations. From piece to piece they define an approach resolutely singularized by the establishment of a context for research the source of which is the intertwining of their peculiarities. A context for research where they tirelessly probe the body's sensitive intelligence, its power to reveal meaning that is also thought in movement, as well as being “thought out” in movement. Fiesta (Festival d'Avignon, 1992), Asile Poétique (Théâtre de la Ville, 1998) based on texts by the poet Antonio Ramoz Rosa, Vita Nova (2000) with the 11th graduating class of the National Centre for Circus Arts, and Wasla (Biennale de Lyon, 1998), are all pieces inscribed in the continuity of Husaïs, asserting a style tied to concepts of control/abandon, strength/fragility, minimalism/exploit, giving rise to choreography and dancing whose expressive power is invested with “graphic energy”.

From 2001 to 2004, Héla Fattoumi was Dance vice-president at the SACD (Société des Auteurs Compositeurs Dramatiques, the French performing rights organization), and in this role responsible for programming “Vif du Sujet” at the Festival d'Avignon. From 2006 to 2008, she chaired the ACCN (Association des Centres Chorégraphiques Nationaux). Since 2010, Eric Lamoureux is chairing the ACCN.

Appointed directors of the Caen National Choreographic Centre [CCNC/BN] in 2004, they continued their creative approach with pieces more focused on subjects with a strong societal tone and where the question is of striving for a poetic and aesthetic resolution to share. Works such as La Madâ'a (2004) with the Palestinian oud virtuosos the Joubran brothers ; La Danse de Pièze (2006), concerning the concept of “homosensuality” in the Arab Muslim world ; 1000 départs de muscles (2007), where they divert objects from the fitness world from their original functions in a critique of performative society ; Just to dance... (2010), part on the notion of "créolisation" developed by Edouard Glissant and finally Manta solo premiered at the Montpellier Danse 2009 festival, exploring the problematic raised by the Islamic veil.

In February 2009, they created the performance piece Stèles, commissioned by the Louvre Museum, in the context of the museum's “Nocturnes”. In March 2011, they created Lost in burqa, a performance for eight performers made ​​from the "clothing-sculptures" of the visual Moroccan artist Majida Khattari during the 6th Festival Danse d'Ailleurs.

In 2005, they initiated the Danse d'Ailleurs festival – Dance from Elsewhere – intended to bring into perspective the concept of universalism by questioning the referent frameworks of modernity in art. The first four editions of the annual festival have focused on artists from the vast and diverse continent of Africa and have brought the young festival ever expanding international influence. Today, it opens up to Asia.

Silvestre, Benjamin

Graduate from the Ecole Nationale des Arts Décoratifs, Benjamin Silvestre works as filmmaker. His work explores the body, and his gesture as language, and way of narration.

He made experimental and narrative films and videos, shorts documentaries on Choregraphers and dance films.

Since 2003, he makes many videos recordings of contemporary dance performances.

He also made severals projects of videos installations for Museum (Forteresse Royale de Chinon, Musée de la résistance et de la déportation, Limoges)

He is actually ending the writing of a feature film and a documentary.

www.benjaminsilvestre.com

dernière mise à jour : avril 2013

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