choreography and design Maguy Marin
in close collaboration with Ulises Alvarez, Kaïs Chouibi, Laura Frigato, Daphné Koutsafti, Mayalen Otondo, Cathy Polo, Ennio Sammarco
with Ulises Alvarez, Kaïs Chouibi, Laura Frigato, Daphné Koutsafti, Cathy Polo, Ennio Sammarco
and the partecipation of Ambra Bedonni, Francesca Paveggio, Veronica Rossi
technical direction and light design Alexandre Béneteaud
music design Charlie Aubry
accessory design Louise Gros and Laura Pignon
costume design Nelly Geyres with Raphaël Lo Bello
sound design Antoine Garry and Loïc Goubet
stage manager Albin Chavignon
set design compagnie Maguy Marin
special thanks to Louise Mariotte
coproduction théâtre Garonne – scène européenne à Toulouse. Théâtre de la ville / Festival d’automne à Paris. Monaco Dance Forum – Les ballets de Monte-Carlo. Opéra de Lille. La Filature, Scène nationale de Mulhouse. Ballet du Nord – Centre Chorégraphique National de Roubaix Nord-Pas de Calais. Charleroi Danses – Le Centre chorégraphique de la Fédération Wallonie – Bruxelles. MC2: maison de la culture de Grenoble. Théâtre de Nîmes – scène conventionnée pour la danse contemporaine. Compagnie Maguy Marin.
other support la Biennale de la danse de Lyon et du Théâtre National Populaire
other financial support for the creation L’Adami
the Company Maguy Marin is subsidized by le Ministère de la Culture et de la Communication, la Ville de Lyon, la Région Rhône-Alpes and with the financial support for touring abroad from Institut français
company Maguy Marin is an Associate Company at the théâtre Garonne scène européenne à Toulouse, France
Running time 1 hour
Choreographer Maguy Marin has been a central figure of French dance theatre for more than three decades. For her, dance is a tool for exploring everything human. She often ignores the rules set by dance, and works with texts or literal sources. In recent years she has created several masterpieces, such as Umwelt, Salve and May B.
[Rhythm] is form whenever it is embodied in what is moving, movable, fluid, […]. It is the improvised, transient, modifiable form.
In that sense human life can be apprehended as a ceaselessly mutating form, “a walking path” 2,
a succession of instants that serve as the pulsation of a rhythm on a larger scale, the rhythm of a lifetime.
From one instant to the next, that rhythmicity is at once what is closest to us and still remains the most unknown: every one of our gestures –gait, speech, reflexes– delineates rhythmic patterns composed of a sequence of instants.
Gradually, what we experience blends in step by step with what we have experienced earlier, already echoing, midway between memory and expectation, what we will experience at a later stage. The prospective odds, so plentiful at birth, narrow down progressively until they define the unique existence of a specific being, a rhythm that bespeaks one unique means of experiencing time.
The display of alternatively slow or fast flows, of durations, starts, pauses, stresses, intensities, surges, pitches, tempi, permeates the present of a sensible experience marked by every past event and yet simultaneously anticipating the sound of every event in time to come.
As a result the manifold rhythms, the manifold fluencies emerge, those instants that constitute the
many parts of the compass of a particular human life among other equally particular human lives; they all coexist within the whole compass of human generations and unite into pure musicality.
In 1978, with Daniel Ambash, she founded the Ballet-Théâtre de l’Arche, which was to become the Compagnie Maguy Marin in 1984. The Centre Chorégraphique National de Créteil et du Val-de-Marne followed in 1985: its unremitting artistic work spread worldwide.
In 1987, Marin’s encounter with musician-composer Denis Mariotte was the starting point of a decisive partnership, which broadened the scope of experimentation.
Then in 1998, a new place to settle in, for a new Centre Chorégraphique National, in Rillieux-la-Pape: a place as a we in time and space to strengthen one’s ability to foster those diagonal forces resisting oblivion (H. Arendt).
The year 2011 saw a remodeling of the framework in which the company’s reflection and achievements unfold. After the intensity of the Rillieux-la-Pape years, there emerged a need for a new phase in Toulouse from 2012.
In January, 2015, Maguy Marin and the company find the region of Lyon. An installation to ramdam to Sainte-Foy-lès-Lyon, who engages the deployment of a new ambitious project: ramdam, a center of art.×