[Coco the king of the broom] 

The Festival Concordan(s)e is a unique adventure in which a writer meets a choreographer. The idea is that two artists, who have never met prior to the festival, observe the other and question each other on what drives their desire to create.  The result of this immersion in each other's creative world is a unique joint creation, in which the writer and the choreographer reveal what has surprised them, what they learned, on this quest to expand their own universe. The audience then becomes a witness to this experience which always illustrates the complicity that has been established and the space that each artist proposes to the other. The intention of these encounters is to discover, in the same scenic space, the choreographer's work and the writer's expression in this joint artistic act.

Coco le roi du balai

À la chasse à la baleine
vive la Reine
à poil !
À l'aise*
peau lit, peau lire, poil lu
la peau lisse autour de l'arène
Louis-l'ouïe dort
berce sa palme
allait nœud
lasso mais...
Coco, c'est des jabots
c'est déjà beaucoup

*(b) à l'aise (at ease): this improbable encounter dances the play on words

Updating: September 2013

After dancing for several contemporary companies, including that of Susan Buirge, Béatrice Massin was engaged by Ris et Danceries in 1983, where for the next ten years she mixed performing with repertoire research, assistantship and choreography. She choreographed “Water Music” by Handel at the Metz Arsenal (1990), “Bastien et Bastienne” (1991), Mozart's “Les Petits Riens” (1991) for the Tourcoing opera workshop and also devised the choreography for “Medée”, set to music by Marc-Antoine Charpentier (1983).

In late 1993, Béatrice Massin founded her own company, Fêtes Galantes, for whom she devises one show each year. These are reconstructions of pieces from the baroque repertoire, but, above all, creations using the choreographic vocabulary of the seventeenth century: "Charpentier des ténèbres”, “Carte du tender, “Pipinone”, “Trio triptyque” and most recently, “Que ma joie demeure”. From December 1999 to July 2000, Béatrice Massin devised and directed the choreography for Gérard Corbiau's film “Le roi danse”. In September 2001, Béatrice Massin was invited by the Ballet de Lorraine to devise three baroque choreographies, which include "Noir, du côté de Callot” inspired by Callot's etchings.

Alongside her research and choreographic work, she presents educational programmes at Opéra Bastille, the Cité de la Musique and CND (National Dance Centre) in the form of danced lecture-recitals, courses and workshops. She offers the opportunity to discover baroque court dance as well as reconstructions of pieces from the baroque repertoire.

Source : Website of the Compagnie Fetes galantes

Further information : Company Website

Digital Resource by the Médiathèque du Centre national de la danse

http://mediatheque.cnd.fr/spip.php?page=mediatheque-numerique-ressource&id=PHO00003922

After experimenting with artists' books in the 1980s, from the 1990s Fabienne Yvert began to publish an increasing amount of poetry, either in books published by Harpo &, des petits livres or in magazines like If, Action poétique, Le Cahier du refuge and Sarrazine. Her poetic universe, focussing mainly on the exploration of daily life, snapshots of wonder and flickers of meaning, goes well with a typographical and artistic experience that is continuously renewing itself.  Fabienne Yvert has also been published by Attila - Télescopages (2010), Papa part maman ment mémé meurt (2011), L'endiguement des renseignements (2012) and by la ville brûle ed. - Y'en a marre d'être pauvre (2012).

Updated: September 2013

Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).