During the creative process for 'Passo', in 2009/2010, along with the dancers I took an approach to the work that had already helped us to find unity as a group and a vital presence, but which seemed to me to have added potential to exploit. It is a means of improvisation and composition through rules, like in a game. Since then, I have wanted to better explore the potential of this work, and with a larger group of nine male and female dancers. While waiting for the necessary conditions to begin this process, it was joined by other things that I wanted to do, which I had developed during the production of my previous shows, 'A Posto', 'John' and 'Nos Amours Bêtes'. I had focused in particular on the construction of a drama, a form of meaning that might not necessarily come from narration, but from a precise assembly of clues that are gradually revealed and become clearer as the piece unfolds. Although my inspiration is not cinematographic, I realise that this approach is reminiscent of film, from an editing, time management and action point of view. I want to create a score whereby the dynamics of a community are transposed onto the framework of movement and the occupation of space and time. Theatrical scenes and actions will emerge from this very dance-centric foundation. As was the case for previous productions, I start with a clear creative force, but I do not know in advance exactly where our work will lead us. From the point of view of the creative process, we choose paths that lead us to unexpected, unforeseeable elements; we let ourselves be astonished by everything that emerges in a non-linear way, and only afterwards do I attempt to reorganise things into a narration. Indeed, I am interested in the possibility that this piece and its content are not determined by any preconception, but are revealed gradually throughout the production process. We create using a clear approach, but I often get the impression that in a way this creation happens as much in spite of us as with us.

Credits

Choregraphy : Ambra Senatore
Assistants : Aline Braz Da Silva et Tommaso Monza
With : Caterina Basso, Romain Bertet, Francois Brice, Claudia Catarzi, Matteo Ceccarelli, Pieradolfo Ciulli, Elisa Ferrari, Simona Rossi, Ambra Senatore
Lights : Fausto Bonvini
Sound project : Igor Sciavolino et Ambra Senatore
Original music : Igor Sciavolino
Music : Claudio Monteverdi, Igor Stravinsky, Fausto Amodei, Caravan Palace, Brian Bellott
Production : Compagnie EDA

Coproductions : Biennale de la Danse de Lyon, Théâtre de la ville - Paris, Les 2 Scènes – Scène Nationale de Besançon, MC2 : Grenoble, Torinodanza festival e Fondazione del Teatro Stabile di Torino, ALDES, L'Arc Scène Nationale du Creusot, Centre culturel André Malraux Scène Nationale de Vandoeuvre-Lès-Nancy, Théâtre Louis Aragon - Tremblay-en-France, Château Rouge - Annemasse, Le Phare CCN du Havre Haute-Normandie, Ballet de l'Opéra National du Rhin - CCN de Mulhouse, La Comédie de Valence - CDN Drôme-Ardèche. Avec le soutien de DSN Dieppe Scène Nationale, du Ministère de la culture et de la communication - DRAC Franche-Comté - Aide au projet 2014, de la Région Franche-Comté, du Conseil général du Doubs, de La Saline Royale d'Arc-et-Senans et l'IDDAC.

Video direction : Luc Riolon
Production : 24 images

Choreographer and performer Ambra Senatore was born in Turin in 1976.

She trained with various choreographers, and moved on to work with Jean-Claude Gallotta, Giorgio Rossi, Raffaella Giordano, Georges Lavaudant (Théâtre de l’Odéon, Paris), Roberto Castello, and Antonio Tagliarini. 

Since 1998, parallel to her work as a performer, she began to create performances in collaboration with other authors, for instance Reminda-remoda, Un po’io un po’tu (1999), and  Silenzio (2002). 

Following her doctorate in contemporary dance (2004), she taught history of dance at the University of Milan and wrote a book on italian contemporary dance (published UTET, Torino, 2007).

From 2004 to 2009, Ambra Senatore pursued choreographic research on solos which she performed: EDA-solo, Merce, Informazioni Utili, Altro piccolo progetto domestico, Maglie.  It was now that her work began to be regularly broadcast in France, most notably at the Hivernales d’Avignon.

Thereafter she would create group pieces: Passo (2010), A Posto (2011) and John (2012).  In 2012, she founded the EDA Company based in Besançon.  In 2013, she choreographed and directed Nos amours bêtes, a show for young people based on the text by Fabrice Melquiot. Her latest creations are Aringa Rossa (2014), the solo In Piccolo (2014), and the series of performances entitled Petites Briques (2015).

Between dance, theatre, and visual art, her work explores the boundaries between fiction and reality; what belongs to the performance and what lies outside of it.  Ambra Senatore works on the dynamic of danced movement, enriched by elements of theatricality and everyday actions and gestures, by exploring the construction of a dramaturgy which looks at the action and presence of the body.

Since the 1st January 2016 Ambra Senatore has been the new director of the NCCN: The National Choreographic Centre of Nantes. 

Source : CCNN

After studies of mathematics preparatory class and medecine studies, Luc Riolon begins to make films within the framework of his Faculty of Medicine, then met the famous choreographers of the 80s (Maguy Marin, Mark Tompkins, Josef Nadj, Daniel Larrieu Daniel, Odile Duboc, Josette Baiz, Angelin Prljocaj, etc.) with whom he shoots numerous films (re-creation for the camera, the illegal securements). In the 80s with the American choreographer Mark Tompkins he introduces the video on the stage, broadcasting live on big screens the images which he shoots with his camera by being on the stage with the dancers, mixing live images and pre-recorded images. With Daniel Larrieu he participates in the creation of the famous show WATERPROOF, the contemporary choreography which takes place in a swimming pool, by filming live) the dancers dancing in the water and mixing the live images with pre-recorded underwater images. This choreography has been shown in many countries (USA, Canada, Spain, England…)
Then he collaborates during 10 years with the famous french TV producer Eve Ruggieri for her programs" Musics in the heart ". He shoots with her of numerous documentaries about classical music, opera singers and dance. From 1999 he directs documentaries of scientific popularization, by following researchers attached to the resolution of a particular ecologic enigma. These two artistic and scientific domains which can seem separated are nevertheless, for Luc Riolon, connected by the same approach : the deep desire to understand the world, by the art or by the scientific research, and to restore it to the largest number. Among his recent scientific documentaries, we can quote for example " The Enigma of the Black Caiman ", Living and dying in the swamp " or " The Nile delta: The end of the miracle ". “Chernobyl, a natural history ? “ These documentaries of scientific popularization recently have been awarded in international festivals.

Source: Vimeo