Retour en Avant / Past Forward Biennale de la Danse Lyon - France

lement au cinéma (Tati, Keaton, Chaplin).En 1988, Vera Bicalho le nomme chorégraphe-résidentde Quasar Dance Co. Il a crééà ce jour 18 pièces pour la compagnie. Sarecherche basée sur la complexité du corpset de l’esprit donne à la compagnie uneréelle identité alliant tonicité et fluidité,humour et simplicité. En 1994, avec la créationVersus, il acquiert la réputation d’undes créateurs les plus innovants de la danseau Brésil. Il s’intéresse depuis quelquesannées aux techniques du multimédia pourune meilleure interactivité entre le monderéel et l’imaginaire créé sur scène, entre lepublic et les danseurs. La compagnie a étéprésentée en France lors de la Biennale de laDanse de la Danse en 2002.Palpable / création 2007Le chorégraphe Andonis Foniadakis évoque« quelque chose que l’on peut sentir ettoucher, et qui éveille le côté sensoriel desdanseurs et du spectateur ». Dans une quêteintense de la cinétique, celui du mouvementdu corps, le chorégraphe cherche à produiredes mouvements doux, d’une grandevirtuosité. « Je cherche dans la chorégraphieà explorer la légèreté des pas et à obtenirà partir de là un résultat harmonieux etdoux » dit le chorégraphe.Andonis FoniadakisNé en Crête en 1971, Andonis Foniadakissuit les cours de l’École de danse nationalede Grèce de 1998 à 1990, puis l’École Mudraà Lausanne de 1990 à 1992. Maurice Béjartl’intègre ensuite dans sa compagnie où ilparticipe en tant qu’interprète à de nombreusescréations (King Lear; L’art du Pas deDeux; Shéhérazade; Wagner…) et crée enmême temps ses premières chorégraphies(In Between, 1994; Court Métrage, 1996).De 1996 à 2002, il est engagé au Balletde l’Opéra National de Lyon, puis crée sapropre compagnie ApotosΩma. En 2004, ilprésente Use dans le cadre de la Biennale dela Danse de Lyon. Il signe des chorégraphiespour d’autres compagnies dont le Balletde l’Opéra National de Lyon, pour le JeuneBallet du Conservatoire national Supérieurde Musique et de Danse de Lyon, pour leBallet du Grand Théâtre de Genève, pour leThéâtre National de la Grèce du Nord…Comment le passé peut-il dessiner l’avenir ?La graine. La graine est le futur de l´imparfait. Lagraine est, sera, et était la nourriture. C´est un processusqui s´observe dans toute la Nature. L´homme créele projet, l´œuvre se reproduit dans le présent infini :l´éternité. De même, les mouvements culturels. Dansce cas précis, le Tropicalisme : mouvement musicalculturel d´extrême avant-garde et d´un pouvoir révolutionnairede grande envergure. Avant-garde est le motqui définit la question de ce qui sera dans l´avenir lefil conducteur de l´Histoire. La question devient enfinontologique. Nous ne saurons jamais tout de suite laraison et/ou la projection de nos actes. On défoncepour naître. L´inspiration se projettera plus loin defaçon paradoxale. Car elle est le futur d´un passétoujours présent. La vraie création ou la vraie raisonde la Création.Anselmo ZollaInfos +Tropicália / Première en EuropeCia Sociedade MasculinaThis all-male Brazilian company was establishedin 2003 and invites the cream of Brazil’s andEurope’s choreographers to candidly portray thefeatures of contemporary man. The companywas founded by Vera Lafer, a dancer and dance-lover,at Studio 3 in São Paulo, a school foradvanced dance training where Anselmo Zollateaches. In late 2003, Anselmo Zolla, now theschool’s artistic director alongside Ivonice Satie,created a piece of choreography, SociedadeMasculina, with some of his male students. Herealised that he could explore a world largelyneglected by choreographers. He decided topursue the adventure with these few dancers,and set up a company of the same name.Though a dancer for eight years, Zolla prefers tobe a “dance organiser”, creating new choreographicworks and inviting guest choreographersto work with the company. Despite prejudiceagainst male Brazilian dancers, SociedadeMasculina has made its mark over the past threeyears as an all-male company. Comprising eightdancers, it aims to restore consideration formale dancing while reaching beyond clichés.The dancers are helping the public to rediscovera whole swathe of choreography characterisedby unshowy heroism, athletic virtuosityand strength. Anselmo Zolla and Ivonice Satiehave made their voices heard and their workappreciated, as well as attracting establishedchoreographers (Henrique Rodovalho, DeborahColker, Paulo Caldas, Jorge Garcia and AndonisFionadakis). The company now has some 10pieces in its repertoire. Investigating the movementthe body is capable of, but also its privateworld, its secrets and, of course, its weaknesses,Sociedade Masculina frankly depicts the featuresof contemporary, real-life man.“I wanted to work with a small number ofpeople so that I could get the most from eachindividual and their talent. They have each haddifferent training – some are more classical,others have worked with contemporary danceand other styles, such as jazz and even capoeira.For me, the fact that they’re not a uniformgroup is definitely a good thing.”Anselmo ZollaTropicália / 2008 creationThe Brazilian’s tells of Tropicalism, a tremendouswide-ranging artistic movement in dictator-ruled1960s Brazil; 40 years on, the most talentedchoreographer of his generation stages thisvolcanic art.Henrique RodovalhoBorn in 1964 in Goiânia, Brazil, he first studiedmartial arts and physical education before focusingon the relationship between music and movement;it was then that he started taking classical-danceand jazz classes. In 1986, he spenttwo years in Rio de Janeiro, where he discoveredthe shows of Merce Cunningham and AntonioNobrega. Choreographer Wim Vandekeybuswould provide his epiphany. He then trainedwith Rainer and Angel Vianna, acted in stageplays,danced with the Nos de Dança companyand dabbled in advertising. He also took an interestin film (Tati, Keaton, Chaplin). In 1988, VeraBicalho appointed him resident choreographerof Quasar Dance Co. To date, he has created 18pieces for the company. His investigations, basedon the complexity of body and mind, have giventhe company a genuine identity that blends tonicity,fluidity, humour and simplicity. In 1994, hiswork Versus earned him a reputation as one ofBrazil’s most innovative dance creators. In recentyears he has explored multimedia techniques toheighten the interactivity between the real worldand the imaginary world he conjures on stagebetween dancers and audience. The companywas introduced to French audiences at the 2002Lyon Dance Biennale.Palpable / 2007 creationAndonis Foniadakis’ choregraphy evokes “somethingthat can be felt and touched, and whicharouses the dancers’ and spectators’ sensoryside”. In his intense quest for the kinetics ofbody movement, the choreographer seeks toproduce gentle movements of great virtuosity:“In my choreography, I look to explore the lightnessof steps and transform them into a soft,harmonious result.”Andonis FoniadakisBorn on Crete in 1971, Andonis Foniadakistrained at Greece’s state school of dance from1998-1990, then at École Rudra in Lausannefrom 1990-1992. He then joined MauriceBéjart’s company, and performed in many newworks (including King Lear; L’art du Pas de Deux;Shéhérazade and Wagner) while also writinghis first choreographies: In Between (1994) andCourt Métrage (1996). From 1996-2002, he wasa member of Ballet de l’Opéra National de Lyon,then set up his own company, ApotosΩma.In 2004, he presented Use at the Lyon DanceBiennale. He has also created works for othercompanies including Ballet de l’Opéra Nationalde Lyon, the youth ballet company at Lyon’s nationalmusic and dance conservatory (CNSMD),Ballet du Grand Théâtre de Genève, and NorthernGreece national theatre, among others.How can the past shape the future?Grain is the future of the imperfect. Grain is, will be,and was food. It is a process observed throughoutNature. Man devises a project, and the piece of workis reproduced in the infinite present: eternity. The samegoes for cultural movements – Tropicalism, in thiscase. An extremely avant-gardist cultural and musicalmovement and a revolutionary power of far-reachinginfluence. Avant-garde is the word that defines thequestion of what will, in the future, be the thread ofhistory. It ultimately becomes an ontological question.We will never immediately know the reason for ouracts and/or how they are projected. We fight hard tobe born. Paradoxically, inspiration will be projectedfurther on, for inspiration is the future of a past thatis still present. That is real creativity, or the real reasonfor the Creation.Anselmo ZollaExtra info:Tropicália / European Premiere47