Isadora Duncan by Jérôme Bel (FR)


NO (See english below)
29+30 Oktober @ 20.00 (dørene åpner 19.30)
Isadora Duncan by Jérôme Bel (FR)
Billetter: 150kr/ 100Kr student

Isadora Duncan
Jérôme Bel (FR)

Med dette stykket utviklet for Elizabeth Schwartz fortsetter Jérôme Bel sin serie av portretter av dansere som han startet i 2004, hvor han denne gang har fokusert på figuren av en av hennes spesialiteter, nemlig Isadora Duncan.
Ulikt fra Veronique Doisneau, Cédric Andrieux og Pichet Klunchun og meg selv, tegner Jérôme Bel her for første gang et portrett av en avdød koreograf, basert på hennes selvbiografiske verk ‘Ma Vie’ [Mitt Liv]. Under den romantiske figuren oppdager Jérôme Bel en visjonær koreograf som, gjennom hennes storslåtte evne for uttrykkelse, spontanitet og naturlighet, la grunnlaget for moderne dans, som igjen ligger til grunn for samtidsdans i dag.
Ved å mikse diskursive og sensitive stiler, talte øyeblikk og dansede soloer, bringer forstillingen minnene av fri dans til live.
Av hensyn til miljøet reiser ikke R.B/ Jérôme Bel kompani med fly lenger. En versjon av stykket er skapt i New York, via telefonkonferanse med danseren Catherine Gallant.

Florian Gaité, for Festivalen d’Automne à Paris, 2019.

Isadora Duncan
Den Amerikanske danseren og koreografen Isadora Duncan var en kompromissløs pioner for moderne dans. Hennes turbulente liv, som gjorde henne til en heltinne, bidro nok til den ekstraordinære påvirkningen av hennes verdenskjente navn og legende i verden. Med kun bare føtter, hennes tynne «greske» tunikaer, og frie bevegelser, frigjort fra alle kjente teknikker, drev hun frem en ny ide av dans som bygger på nyskapning, improvisasjon, og harmoni i kropp og sjel. Som et resultat av dette vil hver koreograf være nødt til å definere ens egen personlige «språk».

Konsept: Jérôme Bel
Koreografi: Isadora Duncan
Med: Elisabeth Schwartz, og - alternerende; Sheila Atala, Chiara Gallerani, Jérôme Bel
Varighet: omtrent 60 minutter
Produksjon: R.B. Jérôme Bel
Co-produksjon: La Commune centre dramatique national d’Aubervilliers, Les Spectacles Vivants - Centre Georges Pompidou (Paris), Festival d’Automne à Paris, R.B. Jérôme Bel (Paris), Tanz im August/ HAU Hebbel am Ufer (Berlin), BIT Teatergarasjen (Bergen)

Med støtte fra: CND Centre National de la Danse, MC93, Ménagerie de Verre, Drac Île-de-France / Ministry of Culture and Communication, Région Ile-de-France, Institut Français, French Ministry for Foreign Affairs, for finansiell støtte av denne skandinaviske turneen, og av ONDA - Office National de Diffusion Artistique - for turnèer i Frankrike.
Kunstnerisk veiledning, daglig ledelse: Rebecca Lasselin
Produksjonsledelse: Sandro Grando

Foto av Véronique Ellena
29+30 October @ 20.00 (doors open @ 19.30)
Isadora Duncan by Jérôme Bel (FR)
Tickets: 150kr/ 100Kr student

Isadora Duncan
Jérôme Bel (FR)

With this piece devised for Elizabeth Schwartz, Jérôme Bel is continuing his series of portraits of dancers, which he embarked upon in 2004, focusing on the figure of one of her specialities, Isadora Duncan. Unlike Véronique Doisneau, Cédric Andrieux and Pichet Klunchun and myself, Jérôme Bel here, for the first time, draws the portrait of a deceased choreographer, based on her autobiographical work, Ma Vie [My Life]. Jérôme Bel discovers, beneath the romantic figure, a visionary choreographer who, through her great freedom of expression, favouring spontaneity and naturalness, provided the bases of modern dance, which in turn lie at the root of contemporary dance. Mixing discursive and sensitive styles, spoken moments and danced solos, the performance brings to life the memory of free dance, by associating choreographic know-how with the spectacle experience. When linked with Jérôme Bel’s concerns about dance as a lever of emancipation, Isadora Duncan’s teaching, rekindled here, makes it possible to assert the topical nature of her critical potential. For ecological reasons, R.B/ Jérôme Bel company doesn't travel by plane anymore. A version of the piece is created in New York, by teleconference, with the dancer Catherine Gallant.

Florian Gaité, for the Festival d’Automne à Paris, 2019

Isadora Duncan
The American dancer and choreographer Isadora Duncan, uncompromising pioneer of modern dance, embodies a new freedom, not only for choreographic art, but also for the condition of condition. Indeed, her tumultuous life, which made her a heroine, fascinated her time, probably contributing to the extraordinary influence of her name and her legend in the world. With her bare feet, her thin « Greek » tunics and her « free » movements, that is to say freed from any known technique, she imposed a new idea of dance that relies on invention, improvisation, and harmony of the body and spirit. As the result, each choreographer will have to define his own personal « language ».

Concept: Jérôme Bel
Choreography: Isadora Duncan
With: Elisabeth Schwartz, and, in alternance, Sheila Atala, Chiara Gallerani, Jérôme Bel
Duration: approx 60 minutes
Production: R.B. Jérôme Bel
Coproduction: La Commune centre dramatique national d’Aubervilliers, Les Spectacles Vivants - Centre Georges Pompidou (Paris), Festival d’Automne à Paris, R.B. Jérôme Bel (Paris), Tanz im August/ HAU Hebbel am Ufer (Berlin), BIT Teatergarasjen (Bergen)
With the support of: CND Centre National de la Danse (Pantin) in the frame of its residency program, MC93 (Bobigny), Ménagerie de Verre (Paris) in the framework of Studiolab, for providing studio spaces R.B Jérôme Bel is supported by the Direction régionale des affaires culturelles d'Ile-de-France, French Ministry for Culture, by the Institut Français, French Ministry for Foreign Affairs, forfinancial support of this Scandinavian tour, and by ONDA - Office National de Diffusion Artistique - for its tours in France
Artistic advice and executive direction: Rebecca Lasselin
Production manager : Sandro Grando

In his early pieces (name given by the author, Jérôme Bel, Shirtology…), Jérôme Bel applied structuralist operations to dance in order to single out the primary elements from theatrical spectacle. The neutralization of formal criteria and the distance he took from choreographic language led him to reduce his pieces to their operative minimum, the better to bring out a critical reading of the economy of the stage, and of the body on it.

His interest subsequently shifted from dance as a stage practice to the issue of the performer as a particular individual. The series of portraits of dancers (Véronique Doisneau, Cédric Andrieux, Isadora Duncan…) broaches dance through the narrative of those who practice it, emphasizes words in a dance spectacle, and stresses the issue of the singularity of the stage. Here, formal and institutional criticism takes the form of a deconstruction through discourse, in a subversive gesture which radicalizes its relation to choreography.

Through his use of biography, Jérôme Bel politicizes his questions, aware as he is of the crisis involving the subject in contemporary society and the forms its representation takes on stage. In embryonic form in The show must go on, he deals with questions about what the theatre can be in a political sense—questions which come to the fore from Disabled Theater and Gala on. In offering the stage to non-traditional performers (amateurs, people with physical and mental handicaps, children…), he shows a preference for the community of differences over the formatted group, and a desire to dance over choreography, and duly applies the methods of a process of emancipation through art.

Since 2019, for ecological reasons, Jérôme Bel and his company no longer use airplanes for their travels and it is with this new paradigm that his latest shows (Xiao Ke, Laura Pante...) have been created and produced.

He has been invited to contemporary art biennials and museums (Tate Modern, MoMA, Documenta 13, the Louvre…), where he has put on performances and shown films. Two of them, Véronique Doisneau and Shirtology, are in the collections of the Musée National d’Art Moderne-Centre Pompidou. Jérôme Bel is regularly invited to give lectures at universities (Waseda, UCLA, Stanford…). In 2013, together with the choreographer Boris Charmatz, he co-authored Emails 2009-2010, which was published by Les Presses du Réel.

In 2005, Jérôme Bel received a Bessie Award for the performances of The show must go on given in New York. Three years later, with Pichet Klunchun, he won the Routes Princesse Margriet Award for Cultural Diversity (European Cultural Foundation) for the performance Pichet Klunchun and myself. Disabled Theater was chosen in 2013 for the Theatertreffen in Berlin and won the Swiss “present-day dance creation” prize.

Photo by: Véronique Ellena