Dramatists point of view
The essence and charm of a gesture is its volatility. Repeated a thousand times, a thousand times it vanishes. The original, the initial gesture, the one with which a dancer cuts through the air for the first time, is not recorded. Nowhere. It does not exist. A photo, a video, a method of transcription are only traces. Speculation is prohibited. Then the dance starts again, with the same gestures, with others, and we do not really know whether it is seeking to trick what is ephemeral or to keep it alive. While it persistently takes its apotheosis from this fragility, perhaps it is, at the same time, frantically, creating its little “enterprise for the building of duration”.
Sometimes, in the recesses of his choreographies, Jean-Claude Gallotta has sought answers to this question: how to give another chance to a danced gesture? How to give it posterity? This is why he makes it pass through different bodies, in the hope of making it pass through time, opening, for instance, one of his ballets (Lessurvivants or The survivors) with a surge of pink children like bathers, another (Solo d’Yves P) with an old lady taking on her knees an old child in shorts with braces, and yet another, the most recent (99 duos) with people of all types who wanted, for an instant, to pass on the gesture.
Each time it is question of discovering, with the help of bodies other than those that the norm approves, the substance of the gesture, what endures in it when the bodies that produce it are not the same; what it becomes when passing from a supple body to a tired body, from a worn body to a new body, from a body made for it to a body that did not expect it; what tiredness adds to it or removes from it, what technique hides in it and reveals in it.
With Trois générations or Three generations, Jean-Claude Gallotta makes these questions into an entire production. The same gestures will be questioned three times in it and they must not lie. Just as we would walk round a sculpture to know it from different angles, so the choreographer will measure up the successive times of the body to understand what remains of the “acting” body under the repeated gesture and what part of the gesture is perpetuated by the difference in bodies. We will look at these same gestures in the light of three ages: bodies starting out, trained bodies, bodies modelled by other pursuits. What mutations, what transformations will the movement undergo? Will it change in nature? Will we recognise it? Will we still call it by its name?
For, of course, the transport of the gesture from one age to another is not without re-appropriations. The gesture will be remodelled, metabolised even by its transit. Each age will be a new tradduttore, a new traditore. It is that “betrayal” that Jean-Claude Gallotta wishes to propose today in the dance presentation. The betrayal that we will also, of course, call, transmission. The choreographer just like the director of a theatre (re)presentation.
Claude-Henri Buffard - November 2002  

After a trip to New York in which he discovered the work of Merce Cunningham, Lucinda Childs, Steve Paxton, Trisha Brown, Stuart Sherman and Yvonne Rainer, Jean-Claude Gallotta – with Mathilde Altaraz – founded the Émile Dubois Group in Grenoble in 1979, which, in 1981, joined the Grenoble Arts Centre as a dance creation unit. This was where Ulysse was born, a playful ballet using both classical and modern vocabularies.

The Émile Dubois Group became the National Choreographic Centre and took up Ulysse again in 1984 for the Olympic Games Festival in Los Angeles, the American Dance Festival, the Holland Festival and the Avignon Festival.

This was followed by: Les Aventures d’Ivan Vaffan, Les Louves and Pandora. In 1986, Jean-Claude Gallotta was asked to be the director of the Grenoble Arts Centre – renamed “Le Cargo” -, thereby becoming the first choreographer to be appointed to run this type of institution.

In 1987, the ballet Mammame was performed at the Montreal International Festival of New Dance: the Canadian press (dance and theatre) awarded him the prize for the Best Foreign Performance of the Year. In 1989, after some ten audiovisual collaborations with, for example, Claude Mouriéras and Raoul Ruiz, Jean-Claude Gallotta produced his first full-length film: Rei Dom – La Légende des Kreuls. This was followed by Docteur Labus and Les Mystères de Subal. 

Jean-Claude Gallotta then resigned as director of the Grenoble Arts Centre and published his first book, Mémoires d’un dictaphone.

During the 1991-1992 season, two choreographic creations combining dance, words and music were performed: La Légende de Roméo et Juliette, performed in November 1991 for the Albertville Olympic Arts Festival, and La Légende de Don Juan, performed in June 1992 for the Universal Exhibition in Seville, as a joint production with the Avignon Festival. Jean-Claude Gallotta then shot his second full-length film: l’Amour en deux.

1993: publication of Les Yeux qui dansent (interviews with Bernard Raffalli).
  In July of the same year, Jean-Claude Gallotta recreated Ulysse at the Châteauvallon Festival. This was followed by a long international tour.

1994: Prémonitions, a new choreography created in Grenoble. 1995: at the request of ‘Lyon Opéra Ballet’, Jean-Claude Gallotta composed La Solitude du danseur, four solos performed to music by Erik Satie. Gallotta then worked with Nicholas Hytner and Sir Charles Mackerras to produce La Petite Renarde Rusée, an opera by Leos Janacek, performed by the Théâtre du Châtelet.

At the Châteauvallon Festival, Jean-Claude Gallotta choreographed and performed the solo Hommage à Pavel Haas. In Grenoble, he created La Tête contre les fleurs for the company. This was followed in 1996 by Rue de Palanka, and in 1997, La Rue (an event for 3,000 spectators) and the creation of La Chamoule ou l’Art d’aimer.

A longstanding collaboration was set up with Japan, at the invitation of the director Tadashi Suzuki: from 1997 to 2000, Jean-Claude Gallotta ran the dance department at the new Shizuoka Performing Arts Centre, training and directing a permanent company of eight Japanese performers. In 1998, Jean-Claude Gallotta also directed Le Ventriloque by Jean-Marie Piemme and Le Catalogue by Jean-Bernard Pouy, and wrote Pierre Chatel for “l’Adieu au siècle”.

Jean-Claude Gallotta created Les Variations d’Ulysse for the Paris Opera Ballet, which was performed at the Opéra Bastille in 1995, and repeated in 1998. He also created Nosferatu in May 2002 to music by Pascal Dusapin; the ballet was performed again in spring 2006 at the Opéra Bastille.

In 1999, he created Presque Don Quichotte at the Douai Hippodrome; the piece was also performed in Shizuoka, Japan. In 2000, he created l’Incessante, a solo for Mathilde Altaraz, at the Avignon Festival as part of Le Vif du Sujet. In 2001, he created Les Larmes de Marco Polo for the Lyon International Biennial.

In 2002, he created 99 duos at the Chaillot National Theatre, the first part of a trilogy on ‘People’. In 2003, he prepared Trois générations for the Avignon Festival, which was eventually cancelled. The piece, which includes children, former dancers and the Company, was performed at the Rampe d’Echirolles in March 2004.

It was performed in May of the same year at the Chaillot National Theatre and was repeated in November 2005. The same year, he worked with the director Hans-Peter Cloos to produce a show combining dance, theatre and music, Les sept pechés capitaux by Bertolt Brecht and Kurt Weill. In 2006, he created Des Gens qui dansent, the third part of the trilogy initiated by 99 duos and Trois Générations and, in 2007, he repeated his flagship piece from the 80s, Ulysse, under the title Cher Ulysse.

In 2008, Bach danse experience with Mirella Giardelli and “L’Atelier des Musiciens du Louvre”; Armide by Lully with the conductor William Christie and the director Robert Carsen at the Théâtre des Champs-Elysées, Paris; Chroniques chorégraphiques - season 1, a sort of “stage movie” that allowed him to pursue his poetic research into genres and people.

In 2009, he created l’Homme à tête de chou, with the original words and music by Serge Gainsbourg in a version recorded for the show by Alain Bashung. In April 2011, he performed a solo with Faut qu’je danse ! as a prelude to the recreation of his trio Daphnis é Chloé in Grenoble.

In October 2011, again in Grenoble and with a piece for thirteen dancers, he took on Igor Stravinsky’s Le Sacre du printemps, which he presented in April 2012 at the Chaillot National Theatre, Paris, along with Tumulte and Pour Igor in the first part.

At the end of 2012, he is to present Racheter la mort des gestes - Chroniques chorégraphiques 1 at the Théâtre de la Ville, then at MC2; in early 2013, his recreation of Yvan Vaffan (first performed in 1984) will enable him to continue his work on the repertoire, alternating with his creations and thereby pleading for a certain “continuity in art” and seeking patiently to share with his audience the same story: the story of a shared artistic history and future.

In October 2013, he directed the singer Olivia Ruiz in El Amor Brujo byManuel de Falla, a piece presented together with Stravinsky’s The Soldier’s Tale, a show on which he worked together with the conductor Marc Minkowski and the director Jacques Osinski.

For the 2014-15 season, he presented The Rite and its Revolutions (including the first performance of Xenakis’s Jonchaies and Six Pieces for Orchestra, op. 6 by Webern (Homage to Angela Davis) at the Philharmonie de Paris, and in June he gave the first performance of The Stranger, based on the novel by Albert Camus at the MC2 in Grenoble.

He is opening the 2015-2016 season with My Rock at the MC2 in Grenoble, and at the Théâtre du Rond-Point in Paris.

In 2009, he adapted Serge Gainsbourg's album l'Homme à tête de chou (performed for the occasion by Alain Bashung), created with singer Olivia Ruiz, Volver, presented in 2016 at the Biennale de la danse de Lyon; he also worked on rock figures with My Rock (2004) then My Ladies Rock (2017). In September 2017, the Adami, Maison des artistes interprètes and the Théâtre du Rond-Point gave him carte blanche to stage two exceptional evenings around the work of Bob Dylan, with performers from all disciplines, including the group Moriarty.

Since the end of 2015, Jean-Claude Gallotta has been associate author at the Théâtre du Rond-Point in Paris. The Groupe Émile Dubois is housed at the MC2: Grenoble.

In September 2018, he presented Comme un trio, based on Bonjour Tristesse by Françoise Sagan, and the re-creation of l'Homme à tête de chou at the Printemps de Bourges festival in April 2019. He is preparing a new creation for the autumn of 2020, entitled Le Jour se rêve, with musician Rodolphe Burger and visual artist Dominique-Gonzalez Foerster.

More information : www.gallotta-danse.com

At the end of the 1970s, a handful of young choreographers burst onto the French scene. Jean-Claude Gallotta was one of them. In 1981, he created his company, the Groupe Emile Dubois, with Mathilde Altaraz, and eight dancers (four men and four women), inspired by Merce Cunningham’s and John Cage’s choreographic revolution in New York. These dancers were not recruited on technical criteria alone but also on their personality, their difference and their desire to integrate a group: one hails from theatre, another from the world of architecture, while a third is a doctor.

The G.E.D. was invited to set itself up as a creative unit within the walls of the Maison de la Culture de Grenoble, today the MC2. One of its first pieces, “Ulysse” (1981), was immediately recognised as the founder of the Nouvelle Danse Française. The choreographer surprises us with a “ballet blanc” (white ballet), which does not destroy the classical fabric but rather plays with it and incorporates it into contemporary gestures.

In these first few years, the G.E.D. helped give rise to the concept of the Centres Chorégraphiques Nationaux (French choreographic centers). The Grenoble CCN is one of the first, set up there in 1984.

At the start of the 1990s, the G.E.D. produced shows known as D.T.M. (dance, text, music) according to the idea that the notion of dance had to go beyond the simple question of bodily motion and must incorporate sound, voice, words and meaning.

In the course of time, although the team of dancers was renewed, the importance that the choreographer grants to the quality of human relationships has led each interpreter to follow the company for a number of shows, just like Thierry Verger since 1992 or Béatrice Warrand since 1995.

The G.E.D. thus embarks on a journey throughout the world, a choreographic style that, inspired by Cunningham, has developed in a highly personal manner with, in particular, the introduction of a gestural humour and a permanent reflection on the uniqueness of the body of “those who dance, those who have danced, those who would like to dance, and those who perhaps will never dance”. 

At the end of 2015, the G.E.D. left the setting of the CCN to resume its first identity, while also continuing to work within the MC2 Grenoble. Jean-Claude Gallotta also became associate author of the Théâtre du Rond-Point in Paris.

The G.E.D. presented “Volver” in 2016, revived “My Rock”, created “My Ladies Rock” in 2017, and prepared “Comme un trio” after Françoise Sagan’s Bonjour Tristesse (autumn 2018), as well as the recreation of “l’Homme à tête de chou” (spring 2019).

In addition to Jean-Claude Gallotta’s creations, the G.E.D. also manages the transmission of repertoire pieces and awareness-raising actions with schools and amateurs. 

The Groupe Émile Dubois / Cie Jean-Claude Gallotta is supported by the French Ministry of culture and communication as a Company with a national and international reach. It is also supported by the Auvergne-Rhône-Alpes region and the Département de l’Isère.

Source: Groupe Émile Dubois

More information: www.gallotta-danse.com