The Spectator's moment: Michèle No...
Choreography Thomas Guerry, Camille Rocailleux
Dance performance Aline Braz de Silva, Arnaud Cabias, Romie Esteves, Caroline Rose, Nicolas Martel, Clément Ducol, Christian Boissel, Olivia Scemana
“Uprooting, wandering, cohabitation, re-connection with our instincts, these are the central notions that we deal with in the work. In addition, we are interested in the rapport that we keep up with our own image, starting from the premise which states: by a mirroring effect, one's self-image and the image of the other give rise to questions which step outside the strict artistic or narcissistic frame, and permit the enrichment of our connection with the world and with ourselves. Each performer takes part in both the musical dialogue and the choreographic dialogue.
The writing of our performances is a ‘four-handed' affair. What connected us from the start of our work together was this idea that we shared fully, that there should not be musical writing on one side and choreography on the other, which would find its life and breath in the time and tempo of the other. Neither would the choreography dominate with the music serving as accompaniment. But that everything would advance, would be created in the same progression, in a ceaseless dialogue, each enquiring of the other, evolving in the same forward movement. The story line, as such, is kept as a kind of support. What really counts is the ‘echo' which is inevitably produced by this process, by the interpretations of one and the other. Similarly, we expect our performers in their turn, with their own and unique being, to enrich (that is to say, modify) the given directions. In our auditions, we have up to now favoured talented younger people, like ourselves at the end of the day. This time, and we arrived at this quite naturally by the evolution of our own views, we wanted to take a closer look at old age, that ‘problem' stage of life, and give it its own energy. In our third piece, even more than previously, we pay more attention to the use of the voice as a powerful vector of emotions, as well as the body, that of the dancer as much as that of the musician, bodily ‘states', their presence in the world, their capacity to recount, to themselves alone, the sum of a narrative or a situation.
We have chosen not to perform in our new work so that we can ensure that we do not depart from the intentions which form the basis for our investigations:
-the meeting of periods, personalities, destinies, being involved in the present rather than the past or future of our characters
- their journey rather than their arrival point
- sensitive rather than cerebral
- letting go rather than absolute control
- the fantasy of the improbable rather than the authority of the logical
- the “sample” (as a selected part of the whole) of the individuals, their acts, in space and time, here and now, rather than the clearly-defined context
- telescoping of reason rather than coherence
- subtle evocation of recurring themes rather than ‘ready-prepared' messages
- the fragility of one who ventures into unknown territory rather than pure, perfectly-controlled performance
- the intimate and unique emotional journey of each member of the audience rather than a linear story”
Thomas Guerry, Camille Rocailleux
Source : Maison de la Danse programme
Conception, mise en scène Thomas Guerry, Camille Rocailleux chorégraphie Thomas Guerry musique Camille Rocailleux danseurs Aline Braz de Silva, Arnaud Cabias chanteuse lyrique Romie Esteves chanteuse, guitariste Caroline Rose chanteur Nicolas Martel percussionniste Clément Ducol pianiste Christian Boissel contrebassiste Olivia Scemana lumière Bruno Sourbier réalisation sonore Olivier Pfeiffer décor Giovanni Parisse costumes Atelier Bonnetaille, Charlotte Pareja asistée de Nicole Cholat, Sébastien Cormier
Réalisation Charles Picq date du document vidéo 2009 production Maison de la Danse
Updating : January 2011
Born in 1977, Camille Rocailleux graduated from the Conservatoire National Supérieur de Musique et de Danse de Lyon and won the First prize.
He co-founded the ARCOSM company with Thomas Guerry in 2000. This step marked the begining of a important artistic work and the creation of 4 dancing and musical play: "Echoa" (2001), "Lisa" (2007), "La Mecanique des Anges" (2009) "Traverse" (2010) "Solonely" (2012), "Bounce!" (2013), "Sublime" (2015).
Camille Rocailleux contributes to various artistes and bands: National Symphonic Orchestras of Lyon and Toulouse, The Opéra National de Lyon, The Orchestre Philharmonique du Luxembourg (Chamber Music order for « Dance010 ») The actor and storyteller Yannick Jaulin (composition of musics and shows : "J’ai pas fermé l’œil de la nuit", "Menteur", "Terrien", "Le dodo", "Conteur? Conteur!" …), the film-makers Jean-Pierre Lledo, Gilles Porte, Gaël Morel (original soundtracks of: "Le Clan", "New Wave", "Notre Paradis"), the singer Daphnée (Prix Constantin 2007), production of her album "L’Émeraude", artistic contribution with Benjamin Biolay and the pianist Gonzales, contribution to the album "Carmin", the singer Camille (Body-percussionnist and choir singer ring the wordlwide tour – Music Hole Tour), the beat boxers Ezra and L.O.S. (Bionicologists project), the Jérôme Savary company (solo of Mona Heftre in the play "Albertine") and stage directors Laurent Brethome (Projet « H »), Dominique Lardenois, Yves Beaunesne ("Pionniers à Ingolstadt", "L’Annonce faite à Marie").
In 2013, he founds his own company of music, E.V.E.R. and creates "Obstinés!" (2013) and "Nous" (2016).
Source : Company Arcosm 's website
Born in 1978, he graduated from the Conservatoire National de Région de Lyon, then from the Conservatoire National Supérieur de Musique et de Danse de Lyon. He improved his training with Odile Duboc, Fabrice Ramalingom, Hélène Cathala, Betty Jones etc.
He joined the Skanes Dance Theatre in Sweden in 1999. He danced in "Meublé Sommairement" (2000) and in "Matière Première" (2002), produced by the association Les Carnets Bagouets; in "Les allées et Venues "(2000) and "Dehors" (2002), produced by La Veilleuse/Christine Jouve Co. He danced with Bernard Glandier in "Le Roi des Bons", Thomas Lebrun in "On prendra bien le temps d’y être", in 2001, "La Trêve(s)" in 2004, "What you want" in 2006 and in "Switch" (2007).
He founded the Arcosm Co in 2000 with Camille Rocailleux and created "Echoa" November 2001, followed by "Lisa" (2006), "La Mécanique des Anges" (2009), "Traverse" (2011), "Solonely" (2012), "Bounce!" (2013), Sublime (2015) & Subliminal (2016). He took part in the choreography of the performance Carnets de notes for the Odysee Ensemble (2003). He choreographed the solo for the State Diploma with Sylvie Giron. Two years later, he was invited by the association Les Carnets Bagouet to stage again for Les Ballets de Nancy another play of their repertoire: Les petites pièces de Berlin. The Ensemble Odyssée Co also called him to stage their new show Le concert interdit.
He wrote a feature film scenario entitled « La boîte en Fer Rouge » with Bertrand Guerry. In 2009, he worked with his brother on the scenario of the feature film « Back Home ». His choreographic experience can be seen through the sharp vision of the destruction of main character’s body.
Sources: Cie Arcosm website
Artictic Direction: Thomas Guerry, Camille Rocailleux
Founded in Lyon in 2001, Arcosm is co-directed by Thomas Guerry (dancer, choreographer and director) and Camille Rocailleux (percussionist, pianist and composer). The company has chosen as its main focus all forms of crossover and links between different disciplines and artistic vocabularies. It is based on the multiple ways music, song and dance can interlock. The voice, as material, rhythm, melody, timbre or texture, is an inseparable part of the musical world and adds colour, shape and theatricality to the characters. The specific skills and abilities of the performers are taken into account, but they are also invited to explore other less-familiar modes of expression. In this way, the experimentation spaces provoke new dynamics where extremely well-mastered techniques are to be found alongside precious and indispensible “fragilities”, which act as a kind of sensitive and emotional intrusion. Agitation, de-compartmentalisation: every enterprise founded based on curiosity allows apparently-distant fields of activity to be attained. So, we have no intention of suggesting a sharing of existing rules. We are coming with the ambition of constructing trajectories together which have no predetermined destination, strategies and bifurcations. We are building a set of stretches of road alongside the road, as a way of broadening the field of vision. Fragmented, fiery, audacious, serious or funny, the company's shows reflect our everyday world, times in our lives that are sometimes chaotic, sometimes rebellious or madly euphoric, but always with emotions near the surface.
The piece “Echoa”, the company's first creation (2001) in Angoulême for two dancers and two musicians, has been performed over four hundred times on French soil and has been performed by invitation in Brazil, Luxembourg, Wales, Japan and many North American states. As demands to host the piece both in France and abroad continued, even when its two creators were engaged on their second project (as performers as well as choreographers), they chose to retain it and “hand it on” to young performers, musicians and dancers like themselves, coming from similar training backgrounds (Lyon and Paris conservatoires).
Source: Arcosm 's website ; Maison de la Danse show program
Foster Delcuvellerie, Makau
Foster Delcuvellerie, Makau