Olivia Grandville accepte volontiers les projets in-situ et joue des contextes. Qu’il s’agisse de commandes (Ci-Giselles - Opéra de Marseille) ou de performances en extérieur (Nous n’irons plus au bois - Domaine de Chamarande ou Ozland - Paris Quartier d’Eté), elle a

récemment montré qu’elle avance en s’appuyant, en privilégiant, en créant de la relation.

Or, la qualité de la relation -initiée souvent à cette occasion- est bien au coeur du programme « Sujets à vif ».

En sollicitant Olivia Granville, la SACD et Le Festival d’Avignon, lui ont permis non pas de créer, mais de revisiter une relation, de relire et relier des parcours d’interprètes.La chorégraphe convie Catherine Legrand, avec laquelle elle a dansé Jours étranges et

So Schnell de Dominique Bagouet en 1993 dans la cour d'honneur du Palais des Papes, et Léone Nogarède, sa mère, qui y interpréta la reine dans La tragédie du roi Richard II, en 1947 sous la direction de Jean Vilar, à l’occasion de la première « semaine d'Art en Avignon ».

Au final, depuis Avignon, en écart avec son sujet de départ, la pièce composée par Olivia Grandville, résonne au-delà du contexte de sa création et de son inscription dans l’histoire du festival. Elle réactive l’histoire du spectacle vivant et l’aventure collective qu’elle permet, elle explore aussi, dans la sphère de l’intime, les liens qui se tissent entre les générations d’artistes, la réalité des carrières des femme artistes, la relation à sa mère et sa propre trajectoire. Olivia et Léone empruntent sur le plateau des langues nombreuses pour se parler et nous parler… Alors que la présence de Catherine Legrand permet une juste mise à distance des choses, donne de la respiration.

« Lycée Mistral (jour) académique violet guêtre jaune Cunningham

Chartreuse de Villeneuve (nuit) fausse mosaïque bruit de fontaine Necesito Bagouet

Hospice Saint-Louis (jour) poules chien écrasés phrénologie cuisine apocalyptique Agnès Varda

Cour d'honneur (nuit) cavalcade masque blanc bouche rouge Richard II Mnouchkine

Cour d'honneur (jour) soleil Léon Gischia ma mère immobile debout

Cour d'honneur (nuit) So Schnell short noir immobile debout très maquillée chignon

Rue (jour) Unedic ta mère Assedic ton père Ceci est un mouvement rien à annuler

Cour d'honneur (nuit) Lettres de Sarajevo Camille

Place du Palais des papes (jour) sujet variation de l'élue Le Sacre

Cour d'honneur (nuit) Richard II la reine grande robe rouge gestes flous pose d'enluminure

Jardin de la vierge (jour) Léone Catherine Richard II Désert d'Amour

Cour d'honneur (nuit) Richard II encore »

Trained first in ballet, Olivia Grandville resigned from the Paris Opéra Ballet to join the Compagnie Bagouet in 1988. For more than twenty years she has developed her own work, most focusing on the question of language and phrasing, be it musical, verbal or choreographic.

In 2010, she created Une semaine d’art en Avignon (A week of Art in Avignon) with Léone Nogarède and Catherine Legrand, under the auspices of the Sujets à Vif section of the Avignon Festival, then Le Cabaret discrépant, the result of research carried out on lettrist choreographic scores, created and presented at the 2011 Avignon Festival and then at the Théâtre de la Colline in Paris. During the 2013  2014 season, she created a number of solos: L’invité mystère (The mystery guest) based on a text by Grégoire Bouiller; Le Grand Jeu, a solo described as «under the influence»; and Toute ressemblance ou similitude (Any resemblance or similarity) based on a text by Aurore Jacob. She then created a number of larger scale works, notably Foules (Crowds), a creation for 100 amateur dancers, in 2015, prefiguring her next work, Combat de Carnaval (Carnival Combat) and Carême (Lent) for 10 dancers. She has been an Associated Artist at the Lieu unique since 2017, where she created A l’Ouest (In the west) in May 2018, channeling her own study trip to Canada and the USA to research First Nations dances.

Grandville is also a dancer and improvisation specialist and is regularly invited to work on the implementation of projects, notably by the choreographer Boris Charmatz (Roman-Photo, Levée des conflits, 20 danseurs pour le 20èmesiècle) and César Vayssié (Coproud)…

 Dancer, Interpreter and teacher, Catherine Legrand met Dominique Bagouet during an audition in February 1982. Soon she joined his troupe where she performed till 1993. Since then she has regularly been transmitting Dominique Bagouet’s work within the association Les Carnets Bagouets. For instance, she has transmitted the choreographer’s work to troupes such as the Ballet Atlantlique Regine Chopinot, Dance Theatre of Ireland, Ballet of Lyon, Ballet of Rhin, CCN-Ballet of Lorraine and to the Paracuru troupe in Brasil. She also worked with several dance schools such as the National Ballet School of Marseille, CNDC of Angers, Conservatory of La Rochelle and the Conservatory of Rennes. In 2012, she recreated Jours Etranges for a troupe of amateurs in collaboration with Anne-Karine Lescop and the Triangle de Rennes. Between 1990 and 2010 she danced for: Michel Kelemenis, Olivia Grandville and Xavier Marchand, Hervé Robbe, Alain Michard, Boris Charmatz, Sylvie Giron, Dominique Jégou, Laurent Pichaud, Deborah Hay and Loic Touzé.

She became a mother in 1997 and had her second child in 2000. 

Since 2010 she has been dancing for: Boris Charmatz (Levée des conflits), Olivia Grandville (Une semaine d'art en Avignon, Le Cabaret discrépant), Dominique Jégou (Accumulation #2 et #3 et La grande forme), Emmanuelle Huynh (A Vida enorme).

She helped Olivia Grandville on her project Le Grand Jeu and has been regularly teaching in primary and secondary schools as well as in dance conservatory where she steps in for one-off transmission projects. In partnership with the TNB, the city of Rennes and the association Danse à tous les étages, Rennes/Brest, she offers workshops for elderly people, or people in hospitals or in difficult social situations. Those projects are sometimes run in collaboration with the director Pierre Lamandé or the writer Nathalie Burrel.  

Born in 1973, Sophie Laly graduated from the Dijon School of Fine Arts in Dijon, France. She creates video installations and videos that question and dissect notions of time and space-time. Her work is inspirational, spanning several different fields such as cinema, biology and physics. She became a film projectionist in Paris in 1999. Because of personal interest, she has developed a close connection with contemporary dance, creating films for choreographers ; Daniel Larrieu, Alain Buffard, Christian Rizzo, Emmanuelle Huynh, Latifa Laâbissi, Boris Charmatz, Christian Rizzo, David Wampach, Deborah Hay, Marco Berettini, Yves-Noel Genod, Carlotta Sagna, Lionel Hoche, Laure Bonicel, Thierry Baë, Sylvain Prunenec, as well as for the SACD (since 2007, for the « Sujets à Vifs » at the Festival d'Avignon).

She has participated as artistic collaborator and/or video artist in different projects : Emmanuelle Huynh (Ligne d'arrivée, 2004), Rachid Ouramdame (A l'oeil nu, 2003/2005, Les morts pudiques, 2004, Cover, 2005), Richard Siegal (Stranger/stranger report, 2006), Daniel Larrieu, (video-controls for Waterproof, 2006), Latifa Laabissi (Habiter, 2007), Dysfashionai - adventure in post-style (Luxembourg 2007), Elisabeth Naud and Luc Poux, architects (spatial design of a slideshow for their exhibition at the Galerie d'Architecture Paris - 2008), has directed filmed portraits for the Agence Pargade Architecte for the exhibition Subjectiver le lieu at the Galerie d'Architecture Paris (2012), has worked with Kader Attia for the editing of his videographic performances since 2011. Since 2008, she has collaborated with Christian Rizzo as video artist and assistant director on several projects : mon amour (2008), ni cap, ni grand canyon (2009, for the Opéra de Lyon), l'oubli, toucher du bois (2010), le bénéfice du doute (2012), Erwartung, Pierrot Lunaire, La Voix humaine (2010, operas produced by the Théâtre du Capitole de Toulouse) and Tannhäuser (2012, production of the Théâtre du Capitole de Toulouse). She created also with Christian Rizzo an installation / concert néo-fiction (2012) for the festival On the boards at Seattle.

She has been commissioned by the Musée de la danse / CCN Rennes/Bretagne - Boris Charmatz, to direct a film about the children of the project Enfants, a creation by Boris Charmatz for the Festival d'Avignon (2011). In 2011, she got a Fundation Beaumarchais grant for the writing of a feature film. PA, the shortest of her films, has just been rewarded by the CHERIES-CHERIS 2012, International Gay, lesbian, bi and trans film Festival in Paris (LGBT).

FILMOGRAPHY

Dance films :

more than 60 between 2002-2012

Art video :

2011 : big crunch

2010 : Singel man

2010 : LESS THAN A MINUTE

2008 : PA - Awards: Festival Chéries Chéris, Paris 2012 –Very short film / Nokia Paris-Roma Contest 2008

2007 : nous ne sommes pas

2005 : le vent a recommencé et de nouveau le ciel est devenu noir

2004 : N/EVER - prizewinning film – « Entraînements “ - Film And Video Contest - Association Edna and Siemens Arts Program

2002 : EVERY-

1999 : « on croit toujours qu'ailleurs c'est mieux » - interactive movie with a remote control

Art installation :

1999 : DON'T LET ME DOWN

1999 : « si tu savais à quel point… » Pénélope, 1999.

1998 : Trouble taking place

1998 : How could you dare ?

1998 : Repère. Point de départ.

Mille Plateaux has been home to artist and choreographer Olivia Grandville's project since January 2022. Mille Plateaux aims to be a space for creation, experimentation and artistic innovation; it wishes to reflect the vitality and diversity of the contemporary scene, and to be a home for choreographic cultures in the broadest sense. The National Choreographic Centres are major players in the vitality and structuring of choreographic creation in France and constitute one of the labels of the French Ministry of Culture.

French actress and art critic born on February 10, 1926.

She began her career with the creation of Mariana Pineda by Federico Garcia Lorca, then was hired by Louis Jouvet to play in La Folle de Chaillot. In 1947, she took part in the first Festival d'Avignon with Jean Vilar and played the role of the queen in  Shakespeare's Richard II.

She also participated in those of 1948 and 1949. She then joined the company of Jean Marchat and Marcel Hérrand. There she became friends with Maria Casarès and Albert Camus, notably on the occasion of the premiere of King John and Devotion to the Cross.

Following a serious illness, she gave up the theatre in 1956 and began a career as an art critic (Plaisir de France, Connaissance des arts, les nouvelles littéraires) and became international secretary general of the AICA (International Association of Artists).

of Art Critics).