eng / fr
Creation 15 and 16 october 2013
Théâtre d’Arles, scène conventionnée pour des écritures d’aujourd’hui
29 and 30 november
Le Cuvier, CDC d’Aquitaine – Festival Novart, Bordeaux
3 to 6 décember
Etablissement public du Parc et de la grande Halle de la Villette, Paris
14 january 2014
L’Estive, scène nationale de Foix et de l’Ariège
28 and 29 january
La Filature, scène nationale de Mulhouse
4 to 8 february
TnBA, Théâtre national de Bordeaux Aquitaine en partenariat avec l’Opéra National de Bordeaux
11 february
Le Parvis, Scène nationale de Tarbes, Pyrénées en partenariat avec Espaces Pluriels, scène conventionnée danse-théâtre, Pau
18 february
MA scène nationale, Pays de Montbéliard
20 and 21 march
Le Manège de Reims, scène nationale
11 april
Le Gymnase CDC, Roubaix Nord Pas-de-Calais et La Rose des Vents, scène nationale Lille Métropole, Villeneuve d’Ascq
22 and 23 may
La scène nationale d’Orléans


CARTEL
conception, stage design and direction Michel Schweizer / 2013

Light design - Yves Godin
Sound design - Nicolas Barillot
Scenography : Jeanne Gillard et Nicolas Rivet. adaptation de l'œuvre APPENDICES de Jeanne Gillard et
Nicolas Rivet  pour le projet CARTEL brainchild of Sèverine Garat (Curatrice)
Technical conception - Alexandre Burdin-Francois, Jean-Luc Petit, Théo Reichel and Johann Loiseau
Stage manager - Jeff Yvenou
Assistant - Cécile Broqua
 








Production 2013 :  La Coma
Coproduction : Opéra National de Bordeaux / Etablissement public du Parc et de la grande Halle de la Villette, Paris / La scène nationale d’Orléans / OARA (office artistique de la région Aquitaine) / IDDAC (agence culturelle de la Gironde) / MC2, Grenoble / Théâtre d'Arles, scène conventionnée pour des écritures d’aujourd’hui / La Filature, scène nationale de Mulhouse / Le Manège de Reims, scène nationale / MA scène nationale, Pays de Montbéliard / Malandain Ballet de Biarritz - Le Centre Chorégraphique National / Le Cuvier CDC d'Aquitaine
Residences : Théâtre d'Arles, scène conventionnée pour des écritures d'aujourd'hui / Centre départemental de créations en résidence - Conseil Général des Bouches-du-Rhône
Support : Théâtre de la Cité internationale, Résidence André de Gouveia et Maison du Brésil à Paris / Centre National de la danse - Pantin - Mise à disposition de studio
Thanks to : Elisa Boillot - Ostéopathe, Julie Nioche.



With
Romain di Fazio,
Jean Guizerix,
Mael Iger,
Dalila Khatir
Michel Schweizer
With CARTEL, I make an attempt at a specific collaboration with former principal dancers who have finished their professional careers. In the human community, my interest continues to be intuitively directed toward people, more particularly those who have very early on adopted an avoidance posture. By choosing to invest themselves professionally in such an activity, they are assured of a daily asceticism: that of keeping themselves permanently at a distance from the order of the world. As was the case for my precedent pieces, everything which makes up this project is a result of my need to generate an intense and unexpected organization of the living which is nevertheless easily recognizable – in which one can discern certain traits common to human destiny. One of the challenges will be to show how these seasoned professionals, whose lives are saturated with the excellence of a savoir-faire and associated beliefs, will know how to acquire a margin of freedom in the impulse to leave something behind.
This is therefore a work of dispossessing, that cannot be undertaken by anyone but dancers who have arrived at the threshold of a transition/reconversion in their professional and personal history. A sort of downsizing dynamic, that will propose a radical and rare exposure of that which makes up and has made up the intimate professional and social verticality of each dancer.
It also means indirectly interrogating a historically prestigious and protected discipline, which continues to mayntain a very strange relation with the present. When this art of dancing, which sublimates the body with a normative virtuosity, continues to leave its footprints in the history of the performing art to the point of taking the social representation of the body into strange territories indeed…