Continuous Replay looked as though it came from another world, and in a way it had: it was made in 1991, but was based on a solo that Zane made for himself in 1977. (Zane died in 1988.) Erick Montes Chavero, the Zane figure here, entered first, naked, and began moving frenetically to the score that Jerome Begin had composed, “Music for Octet,” from two Beethoven string quartets (Op. 18, No. 1, and Op. 135). Gradually, he built an accumulated phrase, which incorporated a teapot’s handle and spout (and pouring) and added a deep lunge and arms that scissored by the face. One by one, other dancers, all naked, joined Chavero, and a group began travelling across the stage, picking up his accumulation and altering it or falling into unison. More dancers ran far upstage, from one side to the other, behind the main action. There was Seán Curran. Then Arthur Aviles appeared. And Larry Goldhuber. You could hear the delight in the audience as people recognized these former Bill T. Jones dancers, who had come home. (Other company alumni were scheduled to appear in the work throughout the run.)

The Beethoven was only occasionally audible; at times there were bits that sounded as though they were played in reverse, but there was plenty of competition from other elements that Begin had woven into his score: a crowing rooster, a man in distress, part of the “Honey Badger” voice-over, telenovela-style dialogue, mission control-ish transmissions. In time, dancers began entering wearing bits of black clothing, then white, as the group (the entire company plus the guests) made its way around the edge of the stage. A solo occasionally sprang up at a distance from the group—I-Ling Liu, spotlit, in an attenuated adagio, followed by Jennifer Nugent, in a rectangle of light, in a more high-energy undertaking. The chaotic organism continued to churn on, until, finally, giving a big shout, the dancers lunged, and stopped. Chavero was the only one still naked—here, a source not of vulnerability but of supreme freedom.

Bill T. Jones is an American dancer and choreographer, who has no taboos whatsoever. This performer, whose scenic presence thrills the audience, expresses violence, gentleness and emotion. His status as a black, homosexual dancer has influenced the social theme of these works, just like modern dance and the importance of improvisation have influenced the creative approach.
 

Brought up in a very modest African-American family, he studied theatre and dance at the University of Binghamton. A turning point in his life occurred there when he met the performer Arnie Zane who would become his companion and main partner. Together they founded the American Dance Asylum in 1973, before going on to become the Bill T. Jones / Arnie Zane Dance Company in 1982. Arnie Zane died from AIDS in 1988, Bill T. Jones, who is HIV-positive has continued the company ever since.
 

Bill T. Jones has created works for A. Ailey, the Boston Ballet, the Berlin Opera Ballet and the Lyon Opera Ballet for which he has been honoured with numerous awards. He has also worked on opera and theatre productions. Interested by the diversity of morphologies, he has made this one of his specialities. Black, athletic, sensual and technically highly-skilled, Bill T. Jones played on the differences between himself and Zane, who was small, white and who invented funny gestures and spiced the virtuosity of their duos with a certain kind of nonsense. Bill T. Jones addresses controversial subjects in his choreographical work, such as the status of African-Americans and homosexuality, and he even goes so far as to take a stand on different social issues. His dance, which is already narrative and has broken away from minimalism, is as such militant.

Sources : Panorama de la danse contemporaine, Rosita Boisseau (Ed. Textuel, Paris, 2006) ; New-York Live Arts 's website

More information : newyorklivearts.org 

Author, filmmaker and video artist Charles Picq (1952-2012) entered working life in the 70s through theatre and photography. A- fter resuming his studies (Maîtrise de Linguistique - Lyon ii, Maîtrise des sciences et Techniques de la Communication - grenoble iii), he then focused on video, first in the field of fine arts at the espace Lyonnais d'art Contemporain (ELAC) and with the group « Frigo », and then in dance.
   On creation of the Maison de la Danse in Lyon in 1980, he was asked to undertake a video documentation project that he has continued ever since. During the ‘80s, a decade marked in France by the explosion of contemporary dance and the development of video, he met numerous artists such as andy Degroat, Dominique Bagouet, Carolyn Carlson, régine Chopinot, susanne Linke, Joëlle Bouvier and regis Obadia, Michel Kelemenis. He worked in the creative field with installations and on-stage video, as well as in television with recorded shows, entertainment and documentaries.

His work with Dominique Bagouet (80-90) was a unique encounter. He documents his creativity, assisting with Le Crawl de Lucien and co-directing with his films Tant Mieux, Tant Mieux and 10 anges. in the 90s he became director of video development for the Maison de la Danse and worked, with the support of guy Darmet and his team, in the growing space of theatre video through several initiatives:
       - He founded a video library of dance films with free public access. This was a first for France. Continuing the video documentation of theatre performances, he organised their management and storage.
       - He promoted the creation of a video-bar and projection room, both dedicated to welcoming school pupils.
       - He started «présentations de saisons» in pictures.
       - He oversaw the DVD publication of Le tour du monde en 80 danses, a pocket video library produced by the Maison de la Danse for the educational sector.

       - He launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created Numeridanse.

His main documentaries are: enchaînement, Planète Bagouet, Montpellier le saut de l'ange, Carolyn Carlson, a woman of many faces, grand ecart, Mama africa, C'est pas facile, Lyon, le pas de deux d'une ville, Le Défilé, Un rêve de cirque.

He has also produced theatre films: Song, Vu d'ici (Carolyn Carlson), Tant Mieux, Tant Mieux, 10 anges, Necesito and So schnell, (Dominique Bagouet), Im bade wannen, Flut and Wandelung (Susanne Linke), Le Cabaret Latin (Karine Saporta), La danse du temps (Régine Chopinot), Nuit Blanche (Abou Lagraa), Le Témoin (Claude Brumachon), Corps est graphique (Käfig), Seule et WMD (Françoise et Dominique Dupuy), La Veillée des abysses (James Thiérrée), Agwa (Mourad Merzouki), Fuenteovejuna (Antonio Gades), Blue Lady revistied (Carolyn Carlson).

Source: Maison de la Danse de Lyon

Artistic Direction: Bill T. Jones

Creation: 1982

The Bill T. Jones/Arnie Zane Company was born in 1982 out of an 11-year collaboration between Bill T. Jones and Arnie Zane (1948–1988). During this time, they redefined the duet form and foreshadowed issues of identity, form and social commentary that would change the face of American dance. The Company has performed worldwide in over 200 cities in 40 countries on every major continent and is recognized as one of the most innovative and powerful forces in the dance-theater world.

The repertory of the Bill T. Jones/Arnie Zane Company is widely varied in its subject matter, visual imagery and stylistic approach to movement, voice and stagecraft and includes musically-driven works as well as works using a variety of texts. The Company has been acknowledged for its intensely collaborative method of creation that has included artists as diverse as Keith Haring, Cassandra Wilson, The Orion String Quartet etc.

Source: New-York Live Arts

More information : newyorklivearts.org