Sessions Posters
2020 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Charmatz, Boris (France)
Present in collection(s): CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Sessions Posters
2020 - Director : Centre national de la danse, Réalisation
Choreographer(s) : Charmatz, Boris (France)
Present in collection(s): CN D - Spectacles et performances
Video producer : Centre national de la danse
Integral video available at CND de Pantin
Sessions Posters
A hybrid project between exhibition, conference, and performance, poster sessions derive from the field of sciences where they are used to create a mental image encapsulating the state of research and offer a visual aid to commentary and debate, and set thought in motion.
Before a poster capturing their thoughts about movement or the school, artists and intellectuals do a performance that is in direct dialog with visitors who are free to move from one to the next. Already tried out at Bocal, the nomadic school launched by Boris Charmatz, these poster sessions are buzzing with thoughts, words, and gestures. A way of sharing knowledge and experience, this new kind of event brings into play teaching and creation.
Source: programme of the CN D
Charmatz, Boris
Born in Chambéry (France), on January 3, 1973
After studying at the Ecole de Danse de l'Opéra de Paris and at the Conservatoire National Supérieur de Musique et de Danse de Lyon, Boris Charmatz was engaged by Régine Chopinot to dance Ana (1990) and Saint-Georges (1991). In 1992, he was asked by Odile Duboc to join her company Contrejour to dance 7 jours/7 villes (1992), Projet de la matière (1993) and Trois Boléros (1996). He also took part in the premiere of K de E, choreographed by Olivia Grandville and Xavier Marchand (1993).
In 1992, he co-founded edna association with Dimitri Chamblas. Following the premieres of works the pair choreographed together À bras-le-corps (1993) and Les Disparates (1994), Charmatz began creating his own works: Aatt enen tionon (1996), a vertical piece for three dancers, herses (une lente introduction) (1997), a piece for five dancers and a cellist set to music by Helmut Lachenmann. In 1999, he choreographed Con forts fleuve (1999), a group piece performed to texts by John Giorno and musics by Otomo Yoshihide. In 2002, he premiered héâtre-élévision, a provocative installation piece influenced by russian Matryoshka nesting dolls that was designed to be seen by one spectator at a time. In 2006, he premiered régi, a performance with Julia Cima, Raimund Hoghe and himself, as well as Quintette Cercle (2006), a live version of héâtre-élévision. La danseuse malade (2008) performed by Jeanne Balibar and Boris Charmatz, was inspired by the texts of Tatsumi Hijikata, founder of butoh dance. One of his latest works, 50 years of dance (2009), is performed by former dancers of the Merce Cunningham Dance Company. Conceived like a choreographic flip-book, it takes the book “Merce Cunningham, Fifty Years” by David Vaughan as its score. Roman Photo (2009) is the version for non-dancers, students and amateurs and Flip Book (2009) the one for professional dancers. Levée des conflits (2010) is a performance for 24 dancers and 25 mouvements. Associate artist of the 2011 Festival d'Avignon, Boris Charmatz creates at the Cour d'Honneur of the Pope's Palace enfant, a piece for 26 children, 9 dancers and 3 machines.
Since 1997, in collaboration with Angèle Le Grand, he developed varied projects within the association edna. The purpose of such propositions was to create a space open to multiple experiments: thematic sessions, production of films (Les Disparates by César Vayssié, Horace Benedict by Dimitri Chamblas and Aldo Lee, Une lente introduction by Boris Charmatz), Hors-série programmes proposed by the edna team (La chaise and Visitations by Julia Cima, Jachères by Vincent Dupont), production of installations (Programme court avec essorage), organisation of exhibitions (Complexe, Statuts), and trans-media projects (Ouvrée - artistes en alpages, Entraînements-série d'actions artistiques, Facultés, Education).
While maintaining an extensive touring schedule, he also participates in improvisational events on a regular basis (recently with Saul Williams, Archie Shepp and Han Bennink) and continues to pursue his performing career (with Odile Duboc for Projet de la Matière and Trois boléros, as part of the piece d'un Faune (éclats) by the Albrecht Knust Quartet and with Fanny de Chaillé for Underwear), to name a few.
From 2002 to 2004, while an artist-in-residence at the Centre national de la danse in Pantin and driven by the idea of exploring the theme of education in depth, he developped the Bocal project, a nomadic and ephemeral school that brought together students from different backgrounds. He was visiting professor at Berlin's Universität der Künste, where he contributed to the creation of a new dance curriculum which was installed in 2007.
He is the co-author of a book with Isabelle Launay: Entretenir / à propos d'une danse contemporaine (published jointly by the Centre National de la Danse and Les Presses du Réel) published in English in 2011 under the title undertraining / On A Contemporary Dance (Ed. Les Presses du Réel). Boris Charmatz is also the author of “Je suis une école” (2009, Ed. Les Prairies ordinaires) related to the adventure Bocal.
Director since 2009 of the Rennes and Britanny National Choreographic Centre, Boris Charmatz proposes to transform it into a Dancing Museum of a new kind. A manifesto is at the origin of this museum, which has received, amongst others, the projects préfiguration, expo zéro, rebutoh, service commandé (on commission), brouillon (rough draft), Jérôme Bel en 3 sec. 30 sec. 3 min. 30 min et 3 h., Petit Musée de la danse, « Rétrospective » par Xavier Le Roy and has travelled to Saint Nazaire, Singapore, Utrecht, Avignon and New York.
He creates the piece manger at the Ruhrtriennale in Germany on September 23rd, 2014, danse de nuit as part of the Built-Festival of Geneva in 2016, then 10 000 gestes in 2017 at the Volksbühne of Berlin.
Source : Boris Charmatz’s website
More information :
Centre national de la danse, Réalisation
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.).
Sessions Posters
Artistic direction / Conception : Boris Charmatz
Interpretation : Boris Charmatz, Emanuele Coccia, Nikolaus Hirsch, Vera Mantero, Rabih Mroué, Marlène Saldana, Catherine Wood x Romain* Bigé
Other collaborations : Graphisme Agnès Dahan Studio
Production / Coproduction of the choreographic work : Direction de production Martina Hochmuth, Hélène Joly - Chargés de production Florentine Busson, Briac Geffrault - Production et diffusion terrain. Production edna (2002). Coproduction CN D Centre national de la danse, Festival d’Automne à Paris. Remerciements Thomas Delamarre. Créée dans le cadre de Bocal au CN D (2002) et réactivée lors d'Une école d’art pour le Festival d’Avignon 2011, une production Musée de la danse et Festival d’Avignon.
Production / Coproduction of the video work : Enregistré au CN D le 26 septembre 2020 dans le cadre de la Fabrique
Animal Kingdom, participant's words
Noé Soulier Rethinking our movements
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
Vlovajobpru company
40 years of dance and music
Indian dances
Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!
The “Nouvelle Danse Française” of the 1980s
In France, at the beginning of the 1980s, a generation of young people took possession of the dancing body to sketch out their unique take on the world.
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
James Carlès
les ballets C de la B and the aesthetic of reality
Meeting with literature
Collaboration between a choreographer and a writer can lead to the emergence of a large number of combinations. If sometimes the choreographer creates his dance around the work of an author, the writer can also choose dance as the subject of his text.
When reality breaks in
Do you mean Folklores?
Presentation of how choreographers are revisiting Folklore in contemporary creations.
States of the body
Explanation of the term « State of the body » when it’s about dance.
Improvisation
Discovery of improvisation’s specificities in dance.
The American origins of modern dance: [1930-1950] from the expressive to the abstract
30 YEARS OF GRENADE
Why do I dance ?
Genesis of work
A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff
Artistic Collaborations
Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians