Terpsichore
2014
Choreographer(s) : Massin, Béatrice (France)
Present in collection(s): Fondation BNP Paribas
Terpsichore
2014
Choreographer(s) : Massin, Béatrice (France)
Present in collection(s): Fondation BNP Paribas
Terpsichore
Terpsichore is a pictorial choreography. From the preparatory drawing to the arrival of colour, the movement sketches the idea of continuity to the musics of Rebel and Handel.
Commissioned by the Centre de Musique Baroque de Versailles, Terpsichore is a two-stage creation. In 2013-2014, the Muse of dance gave the piece a new impetus with this version to music recorded following its creation on June 9th and 10th 2012 at the Händel Festspiele (Germany) with the ensemble Les Talens Lyriques directed by Christophe Rousset.
Massin, Béatrice
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
Terpsichore
Artistic direction / Conception : Béatrice Massin
Interpretation : les danseurs de la compagnie fêtes galantes Céline Angibaud, Bruno Benne, Sarah Berreby, Olivier Collin, Laurent Crespon, Adeline Lerme
Set design : Rémi Nicolas
Original music : REBEL :Terpsichore, Les Plaisirs Champêtres, extraits des Eléments Ensemble Arion Chef invité : Daniel Cuiller; HAENDEL : Terpsichore, prologue de Il Pastro Fido composé pour Marie Sallé (1707-1756)
Lights : Rémi Nicolas
Costumes : Dominique Fabrègue
Other collaborations : Evelyne Rubert (régie générale)
DANCE AND DIGITAL ARTS
CHRISTIAN & FRANÇOIS BEN AÏM – VITAL MOMENTUM
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
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!
Amala Dianor: dance to let people see
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.
When reality breaks in
Dance and performance
Here is a sample of extracts illustrating burlesque figures in Performances.
The BNP Paribas Foundation
Maison de la danse
Pantomimes
Presentation of Pantomimes in the different types of dance.
Dance and visual arts
Dance and visual arts have often been inspiring for each other and have influenced each other. This Parcours can not address all the forms of their relations; he only tries to show the importance of plastic creation in some choreographies.