Libéré de soi ! : Se réinventer au fil des jours (Hors collection) (French Edition)

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Stuart: I see possession as a fiction, as well. And for me, what we can imagine, we can dance. Possession compels you to let go of everything that holds you in its grip: your history, your expectations, your sadness. Mieko Suzuki: Three years ago, Meg invited me to participate in a project that she was working on with Maria F. I loved it. Suzuki: We met a lot of musicians on Java and discussed what it was like to collaborate with choreographers.

Ikbal and I had an immediate connection. Afterwards, I suggested to Meg that we should work with him. Versteele: How do you collaborate during the rehearsals? Do you have any rules? Lubys: Mieko is the sound director and she takes the decisions. I offer my sounds and ideas. Is it possible for an animal to invade your body? Is there a difference between trance and possession? Is repetition the most important thing for trance?

Versteele: Do you go into trance yourself when you play your music? I enter into a state of intense concentration. Versteele: What is a trance? Suzuki: It can be a deeper or higher state of consciousness. It is elevated, but at the same time heavy. It makes us experience time differently. Sometimes, two hours seem to pass in twenty minutes. There is only the moment. This consciousness makes me feel very tense, and I might see a horizontal line in the air, for example. There is a tension in the air. This feeling is a constant theme in my work.

It is what my sound resembles. Versteele: Apart from taped-together records, what other material do you use in the performance? Suzuki: I made a lot of sound recordings in Indonesia, such as city noises, traffic, the buzz in restaurants, footsteps, forest sounds, the movement of air. I also recorded a choir singing a capella at a wedding ceremony and a traditional kecak dance that we witnessed. And I bought a metal spring that I also use to generate sounds. Lubys: I built my guitar from a piece of wood cut from a year-old railroad tie. And I use a stethoscope to obtain really low sounds from my mouth, teeth and throat.

Versteele: Do you draw inspiration from Indonesian musical traditions? Lubys: Rather than play traditional pieces, I create new music. But I do like the attitude of the gamelan musicians, who play traditional ensemble music in Java and Bali. The musicians play throughout the villages, either in halls or in the homes of people wealthy enough to possess a set of gamelan instruments.

They just play, not for a project, not to earn money. I love that mentality, treating music as a spiritual activity. There was a funeral procession in Nablus last night. The Israel Occupation Army rolled into the streets. People started throwing stones. Fifty-two people were injured, one died. Today, the army has closed the whole city down. Rimah Jabr sighs. Every day. Until you manage to travel outside and reach other places. Then you realize just how much time you have lost. Rimah lived in Palestine for thirty-two years.

The need to regain that lost time is the driving force behind her astonishing productivity. She went on to graduate from the RITS performing arts academy in Brussels and to write four theatre plays, in which she also performed, before moving to Toronto for love. I came to theatre work very late. I still consider myself to be at the beginning of my career. That might explain my productivity. I want it to be perfect from the very first version, which is impossible, of course — so only now am I learning to calm down, to be patient and really work on the text.

Her voice sounds calm and introspective. Addressing Jozef Wouters, who had asked her to write to him about her reasons for choosing the theme of tunnels and endlessness, she sounds as if she is thinking out loud. Aided by time and distance, she is able to reflect upon the time she has lost, living in Nablus, a large Palestinian city on the West Bank: thirty years of life under a system designed to undermine any sense of normality.

Curious Beginnings - Critical Role - Campaign 2, Episode 1

A striking observation, to me as an outsider: Palestine seems to be the most real place in the world. I saw it happen to Jozef, when he visited me in Nablus. Everything is so real, that you will feel it cannot be true. It forces your brain to switch off. And you need to jump out of this situation, just to help you handle the impossibility of it all. Rimah first met Jozef Wouters at his Decoratelier in Brussels. The complete experience, named Infini and first presented at the KVS, was so striking that it was selected for the Flemish Theatre Festival as one of the highlights of the season.

During that first conversation, her immediate choice of landscape was: tunnels. Later, when Jozef visited the West Bank and Nablus for the first time and witnessed the wall, the checkpoints, the brightly lit and heavily guarded settlements on the hilltops, the confined life inside the Palestinian cities, he asked her again: Why tunnels? Rimah replied with a letter that speaks to us about the endlessness, the feeling that you can continue forever without seeing a light in the distance, the weight of the world that is moving around up there, somewhere above you.

For those of us living outside of Palestine, it might be hard to imagine the claustrophobia of life in a country where a simple trip from one side of the city to the other, let alone from one city to the next, will always confront you with roadblocks, where the Israeli army can allow you to pass or keep you waiting at will. Just like the fact that they make you lose time. Imagine that someone else is totally in control of your time.

And on top of that, it really is a game of life and death. At the checkpoint you are standing face-to-face with a young person who is carrying a machine gun. To reach your destination, you need the permission of this young guy or girl. And although this person is stealing time from your life, you have to keep quiet and smile. A sudden move or an angry face might cost you your life.

Those checkpoints are not really a security check; they are part of a systematic way to humiliate people, keep them down and spread fear. Writing the letter for Infini 5 , in response to the questions Jozef kept asking her, Rimah Jabr started to realize how these experiences have shaped her work so far. Two Ladybugs is about three young people in a coma, who meet each other in that world beyond life. One of them is an Israeli soldier who shot the other two.

The Prisoner is about someone who remains mentally stuck even after he is finally released from jail. My third play was about a couple holed up in an apartment that is about to be destroyed by the Israeli forces. It has everything to do with the life I have lived, growing up in Nablus, the checkpoints, the lost time, feeling lazy and helpless, unable to do anything about anything.

It is not the lack of time — we always had a lot of time, doing literally nothing, sitting at home, eating, watching television. Because on any given day, the city, the shops and the school could be shut down — just like Nablus has been shut down today. As a kid, we used to cheer whenever there was another curfew.

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No school, just staying home for another week. Later on, this emptiness becomes almost like an addiction. Rimah has always given herself a physical presence in the plays that she has written and produced. My voice is there. The stage is already so beautiful to watch. This is not about me or my personal story. All they needed was paper, glue, tape — and time, hours and hours of time. The result: a scenography built just for the eye of the viewer. It leaves no space for actors.

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And as Galli-Bibiena was the one who pioneered a vanishing point that is slightly off-centre, the gaze of the spectator is caught in an endless perspective. Chris Keulemans traveling writer and journalist based in Amsterdam, participant in Infini In the presence of a cardboard house, palm tree full of attitude and a thoughtfully looking swan Meg Stuart talked about the time of the past, ideas for the future and her special attachment to 'BLESSED'. The piece, which she herself refers to as a jewel, premiered in in Ghent.

Congratulations on the award! An award on Life Time Achievement must have a different weight to it. It surely makes me think about how to continue. It makes me reflect on the past but it also makes me very grateful I have this dancing life and have worked with all these amazing people. And you know, you work and you make another piece and then another. So yep, this 'life time' part makes me look back at that time Many creations have been created and I am curious about the very starting moment of each new work?

What is needed for you to start creating? I think there are few different parts. There is the impulsive part which relates to what I just came from, a response to a personal experience. Then there is a more technical part, like a material I want to work on. I had an image of people working in an industrial way and that intrigued me. With 'Celestial Sorrow' it was the voice I was interested in. Together with the set designer Doris Dziersk we were interested in rain, its feminine quality and the effects it has. A state to which I want to get to is often also another part but most important is that there is an urgency.

That there is a drive to dive into somewhere, a need to figure something out. Is making work a way a of finding answers? Do you end your process with a solved problem? It might take a while but I hope to find a path, a way through that territory. I search for a structure, an approach within the unknown, a movement language of it. Also, for transitions, for how things will develop. Would they lead smoothly to one another or do we need more short cuts. It is only when I understand the overall structure that I can navigate within it.

A sense of healing is also present. Is that an intention behind these works? I think dance is healing. Not healing only in a sense of making us feel better but it also allows us to move into darker places and realise that it is fine to do that. To do it together, with other people. To realise that life is not only about what is comfortable but that it is also about challenge and the uncomfortable. I realised that I am interested in both healing and in art and I was wondering about the connection between the two. I think that art physicalizes things that cannot be easily expressed.

It puts questions and different issues in space and lets them talk to the subconscious. I really believe it does something.. I think things are loaded with meaning and it is only now that we are slowly starting to be aware of that. I am interested in diving into this idea. How what we do is affecting us. How do seemingly disconnected elements connect to each other? I just believe that we are in a deep connection with all sorts of things.

With art, practice, people that are here or not That fascinates me. You say dance is healing, that doing things together is healing. But what about the viewer who experiences the ritual from a very different side, very often in his own bubble? I am very much caring for the audience. Generosity is important to me. I try to find a way to allow the audience to enter into the work and to in a way, be part of the liveliness of it.

It is not only about dancers moving, they are also moving in relation to the audience and that is a practice of the work, the practice of how to be with people. Not everything is, of course, improvised but there is always a space for creating the experience which happens between the performers and the viewers. What is the practice of this work? In many other pieces, dancers kept on moving and giving ideas where Franciso would often just wait for me. Yes, and also just wait for me to make a decision. He would improvise if I asked him to but he would not go for hours. He would propose something and then stop.

I found that amazing. Comparing to the last project in which people would share tons of materials and ideas I feel that Francisco had given me an amazing gift of space, time and patience. I think the world has changed. Our relationship to material, to struggle, to surviving and also to softness has changed. No, for me this piece is like a jewel. I realized that I made it into a dance piece but it was created in a theatre context. We had a premiere in Ghent in but the creation happened in a City Theatre in Germany where there was a whole team of people always ready to help us, to try things out.

This mix of contexts makes it special. You once said that you like movement because It does not give solutions. What else do you like movement for? I think I have a very wide understanding of what movement is. I have also given myself a lot of allowances when working with it. And even though my body has its habits and movements it prefers over others, I am still fascinated by the whole spectrum of movement and its possibilities. I prefer the word movement rather than dance because I am not so interested in dance styles or phrases. With movement, you can put something into it, add, erase.

I am interested in how movement speaks about our personalities, how through movement do we meet the world and how the world meets us. For me all that is movement. I like how movement erupts from different states such as joy, discomfort or how it behaves within a controlled or uncontrolled body. I feel like there is so much unexplored vocabulary there and I am still not done with it. Sometimes I feel like people are moving around and I don't know why. At times I have this desire for movement to be more exact and clear with why it is there or what it means.

There is also challenge in how to give it to the audience. You have premiered your first piece in Belgium in but you started to make work before that. Since then you kept on creating. I wonder if working as a choreographer is something that can be mastered throughout the years? Are there some challenges that keep on appearing along the way?

I never had a stable company, a space or a theatre to work in. Not that it was a big challenge but I never had dancers for a longer time, that we could live and work together with. That has somehow never appeared I did not claim it but now I think, it would not be bad.. Thinking about challenge I often wonder which of the territories I worked with such as installation, theatre or film have been most challenging for me. I still don't know. I am also curious about some spaces l never really went to like ballet or opera, I wonder how interesting that would be. On that level, I will now organise a dance congress in Germany in and that is for me like super new and challenging.

In a way, I am getting some air which is a good thing. I still have touring but, other than that, I will have some space and time to just see what is happening. I think that improvised movie would be amazing but, again that is nothing concrete. Nothing planned for a year but then, of course, I would not know what else to do so something will happen. Maybe something related to a school but it would have to be with a different than usual approach to teaching. I already have some ideas, still very fresh but present.

I would like it to be something more mobile, something you cannot just learn in a closed studio of HZT or P. I have these ideas for more of a mystery school where you would go to, let's say, an older person to teach you his truths and experiences. Where in small groups you would be intensively handed down knowledge of the world and then have breaks. Instead of just taking things from, you will learn through being in a presence of a person.

Like this, your soul and body would have physical experience rather than imagining it or watching it on YouTube. Some of it could be exotic but not only. I just believe that there must be a knowledge that can be thought but it does not exist right now. To create some sort of bank of experience where you can be in, that would be great.

I am so curious! I want to just do that now! Just before you said that for a year you have no plans but after you probably won't know what to do so you will create. Is that some sort of breathing for you? It surely not as easy as breathing. The last pieces were really challenging and made me question a lot of things.

I also have to think about my life that I missed when I was in a studio. I now question a balance between all this. Then a click happens. Or now when I talk to you, I feel I am in it but when you would switch the recording off, it would immediately feel different. When I am in the studio something happens and I can guide and of course, I sometimes have to think of what I will do in the studio but that is not very often.

One more step

When I am outside of the studio I am not thinking that I want to make art, I am not really busy with it. I guess If I would analyse it I would do much less. It sounds a bit romantic but it is just, you know, it is something strange. But before that she will stop in Brussels, the city where she founded her company, with her latest performance Blessed. Teresa De Keersmaeker, who have all received this prestigious award.

Meg Stuart has in common with De Keersmaeker that she works in Brussels. And I thought that the conditions were better here, for creation in the long term. I had received quite a lot of support, allowing me to focus on my research, without having to look for a day job, like when I was in New York. But I never planned on living in Belgium.

Nowadays, Meg Stuart lives in Berlin but she has not left the Belgian capital, as Damaged Goods is still based here and the choreographer returns time and again, among others because of her strong ties with the Kaaitheater. This is also where she premiered her most recent show, Celestial Sorrow, this past January.

In the framework of Europalia Indonesia, she travelled to the country to meet the transdisciplinary artist Jompet Kuswidanto. Like a metaphor for transformation, for how things that are concealed can rise to the surface, the performance obviously refers to the decades of bloody dictatorship under President Suharto. The three dancers were dressed by Jean-Paul Lespagnard, striking a balance between kitsch and an evocation of an invisible world that we fail to notice.

And sometimes his proposals can be quite extreme. But the choreographer has several other long-standing collaborators. Jan Maertens for lighting, Tim Etchells for the text, with whom she is still touring with Shown and Told , Chris Kondek for video… They have already created several productions with her. Whether recurring or one-offs, all her collaborations require invited artists to accept to move their practice. The result is the sum of a series of affinities and tensions. And they must also be capable of improvising during the process. Improvisation provides a space where you can test things, where you can play.

You start out in an unknown space without any idea of what you will find there. You discover the work together, and this requires a certain mindset, a certain way of thinking, to experience freedom. Blessed , which will soon be revived at the Kaaitheater, is performed by Francisco Camacho who already worked with Stuart on Disfigure Study. In the show, the Portuguese dancer moves among cardboard silhouettes, including a palm tree, a giant swan and a hut. They will gradually collapse and dissolve under the rain that falls from above. A slow devastation that refers to the damage caused by Hurricane Katrina in , which made hundreds of victims in New Orleans, where Meg Stuart was born.

Ten years later, this remains a very topical subject. How do you respond when you believe one thing and the circumstances push you to believe something else? Meg Stuart always tries to express the unspeakable, whether her creations are extremely abstract, like Violet , or rooted in a very specific context, like Do Animals Cry on family relations. Pourquoi ne faites-vous plus comment avant? Une photographe? Une religieuse fanatique? Une SDF? Une psychotique? To cross disciplines, the American choreographer has always pushed the boundaries of contemporary dance.

Whether it is by putting her finger on the sore spot, or to alter the conscience of its spectators, she continues to believe in the critical power of her art. What do you think of this statement today? Dance does not refute complexity, however. On the contrary even, it acknowledges its benefits and urges us to embrace them. All truth contains the opposite of truth. In my early works, it seemed more difficult to find solutions. I sometimes think that we are all addicted to suffering.

To the dismantling of things and to chaos. It is important that you come up with proposals in addition to being very critical. This was a collective effort, a celebration of collaboration. We need them to be able to experience them together, to define the body, the objects together, among ourselves and with the audience.

Celestial Sorrow refuses to put the blame on someone or to single someone out. This choreography sidesteps the intellectual stalemates of the post-colonial debate. Instead it attempts to paint on top of it, to remind us that responsibility and sorrow are shared, and that ultimately everything is just a matter of perspective. Having said that, improvisation, trance, various states, or the reproduction of a gesture may allow you physically to approach those states that have been described by neuroscience, quantum physics or research about memory.

It can be a very euphoric experience, and I think that most people have no idea that dance can transform reality like this. We dance for the same kind of reasons that people take drugs. I think that dance can make us more open, more compassionate, can teach us to listen and look more attentively. My artistic creations always look at how social relationships are changing. It is important that you interpret dance in its widest possible sense.

Language is endless, unlimited. Our interpretation of the notion of dance must also be very flexible. Is contemporary dance defined by the intensity or the quality of the movement, rather than by the movement itself. Because in that sense the mere act of putting on a dress could be dance. Before, it was all very traditional. Cunningham or Trisha Brown, for example, had very clear styles, defined spaces in which to explore movement.

Obviously, specialists want dance to mimic the movements of our daily life. Everything is movement, in the way it is thought, executed and understood. What can a show never be? Are there things you absolutely refuse to include in your shows? My first choreography in Europe is over twenty years old, I was just 26 years old.

I always try to create spaces that raise questions without wanting to provide the answers, or resolving things. Even though movements can be abstract, or ultra-aesthetic, dancers must exude life, must be sensitive. They should not be empty vessels, or bodies that demonstrate something. I like a sense of danger. Times have changed. Now your dancers are just dancing! I saw beggars and mutilated bodies. The world is going from bad to worse.

Artists must choose whether they wish to represent the world as they see it or as they would like it to be. This is our ultimate goal. So sometimes you need to irritate your audience, to hold up a mirror to them where it hurts. On other occasions, you must propose alternatives.

Art has the right to get it wrong, but you cannot get caught up in what is politically correct or stick to traditional approaches. Sometimes the result can be quite perturbing and the spectator may not agree with you. This is a very special choreography for you, right? I was born in New Orleans. Unlike most of my choreographies, which are usually a collage, this piece has a linear structure, the action is very direct. Blessed has a very minimalist quality and a singular severity, which engages in a dialogue with my earliest choreographies. The message is still very relevant today.

This choreography deals with the ethical debate about how we approach climate change. How to reconcile climatic instability and the resulting vulnerability with our habit of thinking that life is good, that we are safe? Nature is just one of many factors that can overturn our reality. If this piece did not broach these issues, people would stop inviting me to perform!


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We all think that we understand the world around us, and this is a very precious sentiment. But I think that we should also try to understand with all our senses, with our nervous system. A voyage is a way of transcending our rational mind. Art is another way of achieving this. Analysing a performance is not enough.

You must feel it, let it engage in a dialogue with our subconscious. A photographer? A religious fanatic? A homeless person? A psycho? But I had no idea whatsoever what this meant! Hans Ulrich Obrist talks to the choreographer Meg Stuart about rituals, improvisation and ecstasy. Hans Ulrich Obrist : Ecstasy, transcendence and endurance are fascinating themes because, as I see it, they evoke an image of art being a portal you have to pass through.

But before we get to that, let me ask you how it all began. How did you arrive at dance and choreography — was it a kind of epiphany? Meg Stuart : I grew up in a theatre, and I think that certainly played a big role. Both my parents are theatre directors. Having the chance to see so many plays, watch dancers and actors up close, made an impression on me. First, I got into sports, like running track; the physical aspect was important. Then I started getting more involved in dance, and at some point, I let the running go.

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I did dancer studies — standing, sitting, lying — looking carefully at each part of the body, breaking it down piece by piece. First, I had to build a structure and technique around me in order to realise the things I imagined. Up until then I had been working years on various short studies in New York and these explorations came together in Disfigure Study It was this first evening piece that launched me into the scene in Europe. They told me that New Orleans is so spiritual that it radiates something transcendental and the people there relate to one another in a very special way.

Stuart : I was quite young when I left New Orleans. I can remember the hurricanes and Mardi Gras, but not much more than that. My parents often took me to classical concerts. I created my own little world, a space where I could control things. One of your first pieces that came to my attention was No Longer Readymade — a piece that deeply resonated with the art world.

Can you tell us something about what went into No Longer Readymade? Stuart : It was my second piece, and maybe it was born out of crisis. Creating a second work while on tour with the first, getting a lot of attention very fast, being pulled out of New York and diving into the European festival scene — that was a lot to handle at one time. The centrepiece of this work is a solo.

What do you expect from this? My previous piece Disfigure Study was like a long research project on distortion and fragmenting the body and playing with physicality and light. Then he starts shaking and does the whole thing in reverse. When we started rehearsing the piece, he vomited in the studio. Only after several rehearsals was he able to perform it. How do we use these kinds of involuntary physical responses as dance material? It was then that I integrated physical and emotional states into the choreography. Obrist : This piece seems to go beyond the rational; there are irrational forces that come into play.

Andrei Tarkowski once said that we need to re-introduce rituals because they have disappeared from the modern world. In your work it clearly has a positive connotation. I was wondering about when the subject of ecstasy entered your work. When you started, it must have been quite unusual, right? Stuart : From a Western perspective, I think rituals are things we do out of habit, if not by choice.

Rituals are a series of intention-driven actions, just like with magic. Your actions have a certain intention, and you expect a certain outcome. Going to the theatre is a ritual as well. We know that everything is influencing our nervous system and our electromagnetic field. The question is, how do we deal with it, how do we purge ourselves of it, what thoughts are our own and which are not, and how do we work with these forces?

To a certain degree, improvisation is present in all your works. As you mentioned about your second piece, No Longer Readymade, improvisation was a gateway to all these different states and sometimes ecstatic states Stuart : One inspiration for my last piece Celestial Sorrow was the very repetitive music of a Jathilan ritual I saw in Indonesia. It was a remarkable performance on the outskirts of Yogyakarta. The dancers performed very simple, minute ritualised movements with their arms. Suddenly they seemed possessed and fell into a trance Some things happened in front of you, and other things backstage.

The dancers would take off their costumes and come back in something more pedestrian. Was it all just preparation for that moment of release, the freeing of these dark energies? I found it all very contemporary and very complex. So we started crafting our own version together with two musicians. The dancers also go through a kind of trance. I think we all want to escape the reality of our daily lives.

We all want to feel that we merge with something else, that we overcome the borders between us and the others.

What can I do to prevent this in the future?

We can take drugs or get high on music and repetition, or lock ourselves in a room and concentrate on our own breathing I think we all have that wish to work on higher realms, to have a more singular focus, to be less absent-minded and distracted. It also had to do with this very different state. As in your earlier pieces, you often focus on the notion of exhaustion and how exhaustion can lead to a transcendental state Stuart Actually, I think we sometimes like being exhausted. Exhaustion is either a wish or a problem, but it can also be a strategy — a strategy of art-making.

You tell someone: look at this, now look at it again, and again Insisting on being accountable for where we are. Obrist : Improvisation was a theme we both explored in Laboratorium — our first collaboration in Stuart : Laboratorium was an incredibly imprecise study that examined the relationship of performance and research, science and research, and art and research. It was the basis for an improvisation, the last piece of a longer project titled Crash Landing, which I put on in Moscow in We were lots of artists, many of whom were Russians, and the space we chose was way too small for all of us — it was rather uncomfortable.

The work was about the future, about the body of the future, and how we see ourselves in the future. Each performer could suggest things. We were not concerned with individual authorship, but rather a collective working method where everything was mixed, alliances were formed and questions were jointly investigated Looking back, I can see it as quite radical in its haphazard methodology of insisting on collaborative encounter through improvisational performance, considering the invitation and the context.

Obrist : It was also about demarcation — between the stage and the world, if you will Stuart : Dance that is meant to be performed is about a set of principles or proposals that is shared with an audience. Shamanistic practice and rituals are grounded on service and intention. Shamans with spirit guides dive into other worlds to heal members of society.

This is a service for the community. People go clubbing every weekend, an improvised dance ritual, in search of connection and release and ecstatic shared moments. It is clear that the codes of behaviour are very narrow even in places like Berghain and I can imagine there will be more and more hybrid undefined open spaces in the future for sharing, voicing, releasing and dancing as strategies of survival and healing.

I am hoping that the Tanzkongress in Dresden can be such a lively, unconventional space for collective action and shared intention. We are going to create a five-day gathering, somehow intricately and magically composed, that functions as a social choreography for meeting, exchange, conflict and transformation. A rave deconstructed and other variations of social dancing and encounter are essential to this meeting concept. The rave format in the Tanzkongress would commence early in the morning in that massive hall of Hellerau.

A charged political space in the daytime with the removal of the trope of nightlife. It would be a space where people could express themselves freely thanks to a different kind of receptivity. So, in this huge cavern of space, I want to create something fluid that shifts the pace so that eventually the music slows down, breaks down and another space of listening and presence emerges.

Obrist : Cedric Price and Joan Littlewood, who came up with the Fun Palace in the s, also described this idea of having moments of noise and silence. Suddenly the rave would fall silent — a rupture from fast to slow. So I love your idea. It was a utopian undertaking which she worked to make come true. And to this day, the Foundation still possesses this utopian vein. The Tanzkongress is also a kind of utopian undertaking. What kind of rituals are you planning for the Tanzkongress? In the first Tanzkongress the dance artists were passionately arguing and looking for definitions that would be unthinkable nowadays like what is dance, what a dancer should be, what is the purpose of dance now?

They also describe a legendary party where the whole congress came together at the end. I would have loved to witness that. As a curator, what advice would you give me? In the beginning, it was just me interviewing people for 24 hours, but that got lonely after a while, so I invited Rem Koolhaas to join me. Little by little, it became more of a hybrid format with performances, talks, etc. The interesting thing about your idea, of course, is that people would come to listen to a neuroscientist talk and then see a contemporary artist.

Or they come to see the artist but would also hear what an architect had to say. This can help break down professional ghettos and avoid having only dance professionals attend. It was a social phenomenon when ordinary people in cities — not professional dancers — would dance and dance until they collapsed from exhaustion. There was an outbreak in in Aachen. Stuart : … Or debate mania! Dancers know this, but it needs to be acknowledged in other areas — how certain movements can impact our consciousness.

Obrist : Well, it appeals to all the senses. Margaret Mead once said that we need rituals that appeal to all the senses. I recently read a text by Dorothea von Hantelmann where she asked: What form of ritual corresponds to the life, the social structure of the early 21st century? How collective, how individualised, how rigid, how open, how liberal should such a structure be? That seems to have some relevance for Dresden. Stuart : There will definitely be various forms of coming together and celebrating, but also coming together and mourning. The congress has a dramaturgy that covers a wide range of aspects and provides space for meditation and movement, but also discussions about non-violent communication, or social justice or the power of intention.

It has made me think of your work Alibi which explores themes of fanaticism and violence. Maybe you could change Dresden. Stuart : Maybe. I just heard about this German-Syrian artist Manaf Halbouni who erected three buses in front of the Dresden Frauenkirche. I would very much like to have a dialogue with the Dresden scene.

I often talk about ethics and responsibility. Violet is a completely abstract piece that explores energetic patterns in nature. It features five dancers with five platonic bodies. It was made at the time of the Arab Spring and the tsunami in Japan, and I asked myself: What causes change? At what moment is there a radical shift in thinking and how do we handle it?

Normally you have all the time in the world for abstraction, it is something cold and detached. You work with lines, forces, geometries, but here we were working with abstract movements under stress in a charged heated atmosphere. There was an urgency and a call. That is why it felt extremely political. For many years and in different contexts I have created and held space for artists, musicians and dancers to exchange and meet.

Questions and ideas were exchanged through shared actions and simply by sharing a working space together. I aim to create a dynamic working space of encounter for the extended dance community at the Tanzkongress. I started a project on Instagram which has to do with sketches and notebooks. Personally, I find it appalling that handwriting and doodling is disappearing. So I decided to ask every artist at the end of an interview to write or sketch something that I can post on Instagram — a sentence, motto, a quote.

Discussion Projet:Bande dessinée/archives 1

As one of the most influential dance and choreography artists since the s, she is best known for her highly energetic pieces in which performers embody the boisterous longing for presence in relationship to specific surroundings. Meg Stuart grew up in California, studied in New York, lives with her son in Berlin and has her company Damaged Goods in Brussels, where her career began.

In this interview, we dig into the history of some works that are no longer on the stage and try to find ways to speak about feelings. Astrid Kaminski: Is it okay if we speak about feelings? We could frame it within your piece, Maybe Forever , in which you can undo everything in the future. But despite being early I felt quite rested and fresh.

My new love was invited to teach a workshop on happiness, so I wanted to feel connected by doing some research on happiness. Nothing very new. But you can rewrite the experiences of your life, and shifting perspectives about any narrative — not the facts — make people happy. That made me think about jazz music that riffs on standards. You have these standards, these songs, that are very familiar, but the musicians keep looking for their potential — something that you would not see, that is dormant. They are not smashing the songs, but in a way expanding them. They are always rewriting, re-scripting, and collaging and in this way honouring the music, giving it a future momentum.

I think it is about acceptance. I want to dig into the past for a while. After your first European piece, Disfigure Study , in , you immediately earned a name in dance. This piece is always cited, but I want to look at the one which came right after, in , and was maybe more emotional. What was your relation to Duchamp? The title Disfigure Study says what it was — deconstructing the figure — and somehow this continued.

This also is dance. Yes, but also turning presence into absence by articulating gestures that trace the absence. Like holding a hand that is no longer there. You are such a trickster! I think the long silence you just gave is also an answer. Yet you will be receiving the Golden Lion for Lifetime Achievement at the Venice Biennale Danza , which means someone is watching you.

A female interviewer asking a woman about her feelings! Please ask Tino Sehgal about his feelings! I cried. It was announced the day before my premiere of Celestial Sorrow [at Kaaitheater, ], which I made in collaboration with the visual artist Jompet Kuswidananto. So crying was not that inappropriate.

Later we all took a yoga class and I continued crying. After this I made a drastic cut in the piece. It brought the whole thing together. You are known for very intense rehearsal processes. You even formulated that making a piece is like living through a fiction together. To be in such intense contact with a group of people for several months must be very difficult.

How do you deal with everything that comes up? What strategies help you bring the process to a controlled explosion? I try not to obsess on the outcome too much and to take each rehearsal day as an aim in itself. The vocabulary we use in order to speak to each other and giving everyone space to get lost for a while are also quite important. What is particular about family-like proximity is that everybody has their own rhythm.

You have to compose out of this polyrhythmic situation. The process also seems to have an identity or aura of its own, so people come with the idea that they are entering an intensive work; they bring it with them. And one more thing: I always work with the situation as such but also with a utopia. I like one of the fundamental statements in Are we here yet? But is it a wish to be fully present? Being really present is now more problematic than when this book was made. I am not that fascinated with the distractions, blockages, and irritations of not arriving.

It demands being with your body, being with what is already there. Maybe it is more about being-with than about being-there. This makes me think about the asymmetrical two stories house from your piece Visitors Only. Were the two-stories stores connected to altered states in between external realities and internal feelings? The house was very playful with a lot of fantasy inferring with the movement.

The architecture made it very clear that you went from one state into another.


  1. Evergreen?
  2. Table of contents!
  3. Die Tochter des Fälschers (German Edition);
  4. Places aux livres;
  5. Amys Answering Machine: Messages from Mom.
  6. The Cultural and Intellectual Rebuilding of France after the Second World War.
  7. Are the Bibles in Our Possession Inspired? (IBRI Research Reports Book 5);

The asymmetric spaces and incomplete and destroyed rooms supported these shifts. En , le Salon du Nordique devient Transju'Expo. Pour eux, le moment est important. This year, Worldloppet passport owners, will be particularly pampered. The Jura company Julbo will receive them, on Friday evening at 6 pm at the Musee de la Lunette, presenting gifts and local products tasting, all in music.

A guaranteed atmosphere! Each year hundreds of foreigners come to the Jura mountains for the first time. Pour tous ceux qui veulent suivre La Transjurassienne en direct, direction le site Internet www. Videos, pictures and updates on the competition will be offered. Also to follow on livetrail. Friday 10th and Saturday 11th, from 10 am to 7 pm at Espace Lamartine of Morez, the competitors will pick up their bibs to wear on one of the races. For them, it is an important time. Cross country enthusiasts wait many month to have it. They have been waiting for two years due to the cancellation of the competition in This moment has a particular significance even before the race starts.

As soon as the valuable asset is in the bag, the runners, those who accompany them and visitors too enjoy walking through the partner stands of La Transjurassienne, including Nordic magazine. A Smoby kindergarten will be set up nearby, as well as the Gel Interim — Rossignol bus. Visitors will be able to taste Comte cheese, attend the Carnavaski organized by the junior local council.

Optic will set up an eyesight assessment stand in front of the previous Optic store located at the bottom of the climb. It will undoubtedly be crowded especially on school holidays. Expect many goodies to be distributed. The entertainer is Gel Interim — Rossignol Team. Il s'agira de les accueillir avec les applaudissements qui s'imposent. Of course the show will already be on the track and thousands of runners are expected after hours of hard work. It will be a matter of welcoming them with the necessary applause. Of course, many other festivities are planned. For its part, Espace Nordique Jurassien and the French Ski School of the Jura Mountains have put together a special program allowing a timed biathlon laser practice, taking part in a sprint competition, kids races on February 12th at 11am , a 3 person ski event, dog sled inaugurations on February 12th from 12 pm to 4 pm , ice sculpture.

Que signifie ce positionnement? Pour quelles raisons? Il y a eu un double concours de circonstances. Nous avons donc. Il y a 30 ans, les vedettes internationales du ski de fond ne manquaient pas La Transju'. Aujourd'hui, il existe un circuit fort en classique, le Visma Ski Classics avec la Birkebeiner, la Vasa Il attire des teams professionnels. La course peut se perdre ici, mais pas se gagner. When thinking about La Transjurassienne I especially remember a popular enthusiasm rarely found in other races.

I really enjoyed it two years ago. I loved this atypical itinerary going from Les Rousses across all the villages. Getting closer to the villagers can definitely promote classical skiing ambiance. For this, La Transjurassienne has an ideal format to promote its own spectacular atmosphere.

It is a decisive spot where the race can be lost but not necessarily won. Those are places where it is best to have some energy left. I knew the first part of the itinerary, not so much the part near Bellefontaine. This feeling of coming back to the source through the massif marked me. So I motivated myself to wear the bib again, this time skating the long race.

Celui qui est encore frais peut faire un trou. Even if I first practiced alpine skiing, when I thought of cross-country skiing, what I had in mind was La Transjurassienne. My parents did it, my grandfather too. At first, it seemed impossible to finish the race! And for the past 2 or 3 years it has become the objective of the season.

Since I am doing the national races in the Gel Rossignol team, for me it is my chance to shine and climb to the international level, to dispute The Engadin for example. Being from Les Rousses, 2 years ago I was the only Jurassien in the head group. Those are strong moments to experience, especially the Opticien climb, a symbolic but not decisive passage.

The decisive turning points in the race are made in the Risoux forest and towards the end of the course: you really have to know how to place and preserve yourself. Between Bellefontaine and Mouthe, the decisive spots are not lacking , by the time you reach the Celestine we are pretty worn out with quite a lot of kilometers in the legs. When Mouthe comes into sight, we are happy to see the end of the race. One day, I hope to be in the fight for the podium there. The script is never written in advance in such a long distance. Opening of the start area: am Les Rousses College. First arrival in Mouthe at am and last arrival at pm Track closure at pm Flower Ceremony at Award Ceremony — Sunday - pm - Mouthe.

Opening of the start area: am First arrival in Mouthe at am and last arrival at pm Track closure at pm Flower Ceremony at To go to Lamoura from Morez, take the D69 towards Lonchaumois. Track closure at pm Award Ceremony at pm —Podium, Mouthe. During La Transjurassienne your eyes are also in danger. Cold weather can cause blurring or watering of the eyes.

UV rays can cause a lot of problems like for example burning of the cornea and sunburn of the eyelids. Also a visor can be useful. Those who use contact lenses should also use protective sports sun glasses. In case of really cold weather it is strongly advised not to use contact lenses at all. Opening of the start area from am. Les lunettes choisies seront couvrantes et enveloppantes.

Peut-on porter des lentilles? Platini ou Zidane du biathlon? En ,. Il ne lui a pas fallu beaucoup de temps pour se. Guillaume di Grazia Eurosport. On gagne un temps incroyable. L'homme aime s'entourer. Tous ses projets sont l'occasion y aventure collective. C'est le cas avec l'Aix Ski Invitational qu'il organise au bord du lac du Bourget. L'homme aime s'entourer, le collectif est une valeur primordiale chez lui. Une valeur que l'on retrouve dans tous ses projets. Donc, au final, on oublie vite! Retour en images sur la vague bleue. Leur histoire est similaire. Jarl Magnus Riiber n'a que 19 ans.

Ni la motivation. Il est agressif, rapide, courageux, tenace, et il a une bonne technique. Johannes H. Jarl M. Aussi faut-il tout donner pour battre les autres Vous savez, toutes ces taquineries qui rendent les voyages moins ennuyeux. Est-ce trop pression pour vous? Quel est le secret? Finalement, je finis 20e et 25e. Un vrai bonheur! Elles se sont rendu compte que les autres filles avaient deux bras et deux jambes, comme elles.