Flashback.

As a child, I dance on the pop music of my father's disco-mobile, I am painted in pink tutu on the door of his van, I run galas in motocross competitions. My father loves the dancer he had painted on his van and I love that my father loves her. But I will never become the pink tutu dancer painted on the C35 and yet, it is thanks to it that I dance as I dance today.— Maud Le PladecMoto-cross is like a net thrown behind you. A look at a past, the one of Maud Le Pladec, as well as French political and musical events since the 1980s. At first, it was a memorial approach, a principle of "going fishing", collecting what is floating, indistinctly, then filtering and collecting what makes sense. In a second step, to put this life story into perspective so that it becomes a means of reaching out others. The autobiographical dimension of the project becomes self-fiction, the life story slipping into a personal legend.Maud Le Pladec writes this legend with the author Vincent Thomasset. In a Gonzoid1 posture, Vincent Thomasset appropriates the choreographer's story, taking liberties with the truths. In an ultra-subjective writing style, he expresses himself in the first person with a distorting view of reality. The context in which the story emerges is a fiction to appear more real than the real itself. This fiction makes it possible to bring the spectator into the lair of his consciousness, insofar as it better transcribes the vast subject of human existence.This retrospective approach makes it possible to identify key periods, historical, political and musical figures, emblematic of an era. These do not only structure the project as landmarks over time. In a logic of historical frieze, they dialogue with each other, in two or three voices, and unexpected links are then forged with the constituent elements a personal journey.Between intimate and political, culture and society, reality is reinvented in front of spectators, according to the associations and shifts in memory.In Moto-Cross, Maud Le Pladec will dialogue with the philosopher Miguel Abensour, among others, she will wonder about France in the 1980s and the disenchantment of political youth, she will quote the psychoanalyst Sabina Spielrein, mix emblematic pieces from the French Touch, use the decadent lyrics of the French boogie and she will experiment with the urban dances of that period, waacking2, locking, etc. In the form of a pop and committed project, a dance-fiction, a film for ears.

1. 1  Gonzo journalism is both an investigative method and a style of journalistic writing that does not claim objectivity, the journa- list being one of the protagonists of his report and writing it in the first person. The term "gonzo" was first used in 1970 to describe an article by Hunter S. Thompson, who later popularized this style.
2. 2  Waacking is an African-Ame- rican form of street dance from gay clubs in the United States. Appeared in the 1970s in Los Angeles, inspired by funk and disco music, it is a dance that aims to be an imitation of sensual and feminine dance performed by men. Locking is a type of funk dance invented in the early 1970s and linked to hip-hop culture.

After completing the Ex.e.r.ce training at CCN Montpellier, Maud Le Pladec performs for several choreographers such as Georges Appaix, Emmanuelle Vo-Dinh, Loïc Touzé, Mathilde Monnier, Herman Diephuis, Mette Ingvartsen and Boris Charmatz. In 2010, she created her first piece Professor, choreographic piece for three performers on the music of Fausto Romitelli. In 2011, she created Poetry second part of a diptych around Fausto Romitelli. In 2012, she initiated To Bang on a Can, a research and creation project with three pieces and various artistic projects over four years (2012-2015). Ominous Funk and Demo, around and from the musical work of composers David Lang and Julia Wolfe, will be the starting point of this long-term project.
In 2013, Maud Le Pladec is a laureate of the Hors les Murs program at the Institut français and is conducting a research in New York on the current of post-minimalist American music. From this research came the creation of Democracy, a piece for five dancers and four drums (Ensemble TaCtuS) and Concrete (2015), a major project conceived for five dancers and nine musicians from Ensemble Ictus. In 2015, Maud Le Pladec was invited by the Lille Opera to collaborate on the creation of the 5 Xerse Opera (Cavalli / Lully, directed by Guy Cassiers, musical direction Emmanuelle Haïm / Concert d'Astrée). That same year, she initiated a new cycle of creations around the word given to women by co-creating Hunted with New York performer Okwui Okpokwasili.
Her works have been awarded with several prizes and distinctions: prize of the choreographic revelation of the Syndicate of the French critic in 2009, prize Garden of Europe in 2010, Knight of the order of arts and letters in 2015.
In 2016, she worked at the Opéra National de Paris on Eliogabalo (Francesco Cavalli) with director Thomas Jolly and under the musical direction of Leonardo Garcia Alarcon. At the same time, Maud Le Pladec is an associate artist at La Briqueterie – CDCN in the Val de Marne and continues to dance in the plays of Boris Charmatz (Levée des conflits, Enfant, Manger, 10000 gestes). Since January 2017, she succeeds Josef Nadj and directs theCentre chorégraphique national d'Orléans.
She created Moto-Cross (The Subsistances / Biennale Val de Marne), Je n'ai jamais eu envie de disparaître with the author Pierre Ducrozet as part of Concordan(s)e festival and Borderline in collaboration with the director Guy Cassiers, presented at Festival d’Avignon. In 2018, she created her last piece Twenty-Seven Perspectives, performance for 10 dancers built around Schubert’s Unfinished Symphony. In May 2020, she will create a new piece with for CCN - Ballet de Lorraine: Static shot.
Source: CCN d'Orléans
More information: https://www.ccn-orleans.com

Since she graduated from the Fine arts school in Rennes in 2001, Julie Pareau has been working on video and writing. Her videos have been viewed by the public, in particular in Jussieu for the Nuit-blanche Paris, on an invitation by Hou Hanru, in 2004. Between 2004 and 2005, she contributed to the Hypercourt review: nos. 2 and 4, and to the collective work Renews 2 ENFIN !, published by the éditions è®e.

Since 2006, she has stepped up her work as technician and video artist for the performing arts, with companies, musicians and theatres. 

In particular, she created the videos for the Oratorio L’inconnu me dévore, a show staged in 2007 by Jean-Michel Fournereau, with the vocal ensemble Melisme(s) and some of the musicians from the Orchestre National de Bretagne. She also works with the musician Nincaleece for whom she signs the stage videos.

Source: Lumières d'août

More information: juliepareau.fr

Directed since January 2017 by Maud Le Pladec, the National Choreographic Center of Orleans (CCNO) places the issue of audiences at the heart of its priorities. Artistic creation in all its forms, approached transversally, encompasses the project. In all its dimensions and for all audiences. The CCNO invites people to share and to explore: the before and the after, and the around. Monday after-work workshops, Saturday brunches, festivals, classes and workshops, performance art, open events, conferences, participatory artistic creations – all resonate together with the creative work of the artists in residence at the CCNO or programmed at the Théâtre d’Orléans. 

The CCNO opens its doors as widely as possible, roaming the city and its surrounding areas, their public spaces, schools and associations, initiating projects in partnership “with” – in a movement of “going towards”.

Multiplying artistic practices and perspectives, giving impulse to a permanent back and forth between seeing and doing – for audiences as well as for amateurs of all forms of dance. It is all a question of accessibility. Making encounter possible. Creating connections. 

Make the city dance, rendering each body visibly present in our shared space.

As part of the Théâtre d’Orléans – along with the National Stage, the National Dramatic Centre, and the CADO – the CCNO contributes to the collective dynamic of this artistic quarter, favoring development of creative and innovative projects to the benefit of its audiences.

Teaser: vimeo.com/205356462