LABO DANSE

Robyn Orlin et Natalie Sebanz 

The Conscious Body

Date : Dimanche 6 octobre 2013

Lieu : La Briqueterie à Vitry-sur-Seine

Réservations: Tel. 01 46 86 17 61 / reservation@alabriqueterie.com

Web: 

http://theconsciousbody2.wordpress.com/

http://www.alabriqueterie.com/index.php/75-saison-2013-2014/agenda-programme/au-programme/324-robyn-orlin

Après une semaine de recherche en résidence à la Briqueterie, un groupe composé de 10 danseurs-performeurs et 10 scientifiques, venus du monde entier et emmenés par Robyn Orlin et Natalie Sebanz, présentera une performance sur la performance, et sur les facteurs cognitifs, émotionnels, physiques et sociaux qui entrent en jeu dans la situation performative et dans notre sens esthétique intuitif.

The Conscious Body vise à dépasser les frontières établies entre « l’art » et « la science » en réunissant des experts de ces différents domaines et en les invitant à partager leur savoir et leurs techniques de recherche autour de questions d’intérêt commun. Le thème de cette année, "la performance et l’art d’être spectateur", aborde des questions telles que la nature de l’empathie, la théorie de l’esprit, l’attention partagée, la compréhension de l’action et la simulation, les pratiques rituelles et la politique du pouvoir.

L’évenement public en lui-même est conçu comme un genre de performance hybride et innovant, combinants des formes de communication et d’interaction "artistiques" et "scientifiques".

Laboratoire Portes ouvertes :

à 14h : Rencontre avec les participants de la résidence
à 17h : Performance sur la performance

Gratuit — réservation recommandée

Chorégraphe majeure de la scène internationale, Robyn Orlin a longtemps été perçue comme l’enfant terrible de la danse sud-africaine. Ici partenaire de Natalie Sebanz, professeur associée au département de sciences cognitives de l’université d’Europe Centrale à Budapest, elle reste convaincue que « l’art ne sert à rien, s’il n’est pas en prise avec le réel ».

The Conscious Body fait partie d’un projet de recherche à plus grand échelle sur la danse et la cognition, Labodanse, soutenu principalement par le Labex Arts-H2H.www.labex-arts-h2h.fr

Réservations : Tel. 01 46 86 17 61 / reservation@alabriqueterie.com
Le laboratoire est gratuit, nous vous recommandons cependant de bien vouloir réserver votre venue. Par téléphone ou par e-mail en mentionnant comme objet « Laboratoire Robin Orlyn » et en indiquant votre nom et le nombre de personnes.

 The Conscious Body

La Briqueterie

Séminaires (RU)

The School of Creative Arts, Film & Media at the University of Portsmouth

is pleased to invite you to a public lecture by Professor Mary Jo Lodge, 

Associate Professor of English and Theatre at Lafayette College in Easton, 

Pennsylvania, USA 

Date: Thursday 3 October 2013
Time: 5pm
Venue: St George’s Building Room 0.20, 141 High Street, Portsmouth PO1 2HY
Admission: free

Dance Breaks, Dream Ballets and Other Perils of the Musical: An Analysis of 

Form, Function and Liminality in Dance in Musicals

The Broadway musical is often roundly critiqued because its characters
suddenly begin to sing and/or dance. These moments of transition - ones
which move from one mode of communication to another (singing to dancing,
for example) are defining ones for musicals and are fraught with challenges
for their creators. In this essay, I examine those transitional moments in
representative stage and screen musicals which involve dance – ones in
which characters begin dancing and stop singing, typically mid-song (the
dance break), or sometimes mid-show (the dream ballet). I explore the ways
in which dance is used as a mode of communication in various musicals and
the ways in which certain shows navigate both the introduction of dance
into a song or show, and the transitions, after a dance ends, back to song
or speech. I explore specific musicals that have been successful in
introducing choreographed movement into a show in order to theorize about
how other musicals might achieve this. I suggest that when dance in
musicals works well, creative teams usually have employed one of three
approaches: using dance with a diegetic function, using dance in a
deliberately unrealistic way, or using dance in a pre-integration
(structurally speaking) fashion. For those musicals with a less successful
justification of dance written in to their structure, I suggest that
choreographers most often try to manufacture a diegetic approach to dance
sequences. Regardless, however, all of these approaches to dance in the
musical require careful handling of the shifts between the various modes of
communication, and specifically require thoughtful analysis of how dance is
used and how the liminal spaces will be addressed. If history is any
indication, it seems that taking great care in crafting these dance moments
can yield a musical that achieves both creative and commercial success.

Mary Jo Lodge is an associate professor of English and Theatre at Lafayette
College in Easton, Pennsylvania, USA, an active musical theater performer,
director, and choreographer. Mary Jo previously taught at Central Michigan
University and founded their B.F.A. musical theater program. She holds a
Ph.D. in theater from Bowling Green State University, an M.A. in theater
from Villanova University, and an undergraduate performance degree from
Catholic University. She has directed and choreographed numerous
professional, college and summer stock productions, including Arabian
Nights, Rent and A Thousand Cranes. She is also active internationally as
a musical theater scholar, and has recently published work on the
director/choreographer, the television musical and dance in the musical.
This term, she is a Fulbright scholar to the UK, and will be teaching a
course in American musical theater at Roehampton University in London and
conducting research on British musicals for her book, “On Bursting In to
Song and other Perils of the Musical”.

------------------------------------

Middlesex University, Performing Arts Department

The Burroughs, Hendon, London, 

On Methodology*

Part of the research seminar series by Professor Mark Franko

Friday 13th and Saturday 14th Sept, 2013

Réservation obligatoire : Nicholas Nikeforou, n.nikeforou@mdx.ac.uk

Web : ttp://www.mdx.ac.uk/aboutus/Location/hendon/index.aspx

Friday 13th Sept: 2-5pm: Foucault and Las Meninas

 We explore the chapter “Las Meninas” from *The Order of Things* (*Lesmots et les choses*) by Michel Foucault. What sort of methodologies does

 this analysis of the Velasquez painting (1636) suggest for dance and

 theatre studies? What concept of representation does Foucault present and
 why does he rely on a dramaturgical reading of the painting, and to what
 effect? Because this text implies opposition to Merleau-Ponty, we read an
essay by Claude Lefort – also a student of Merleau-Ponty – which proposes a
different way of dealing with power and representation.

 *Readings:* Michel Foucault, “Las Meninas” in *The Order of Things. An
 Archaeology of the Human Sciences *(New York: Vintage, 1973): 3-16
 Claude Lefort, “The Image of the Body and Totalitarianism” in John B.
Thompson, editor, *The Political Forms of Modern Society. Bureaucracy, Democracy, Totalitarianism* (Cambridge: Polity Press, 1986): 292-306.

Saturday, 14th Sept: 2-5pm: Derrida and Grammatology

 How is Derrida’s conception of writing useful for Dance Studies? We read pages 3-65 of *Of Grammatology*, which contains one of the only passages in his oeuvre where Derrida makes an explicit connection between writing and choreography. We also examine scholarship that comments on and/or uses Derridean principles (Brandstetter; Lepecki).

*Readings: *Jacques Derrida, *Of Grammatology* translated by Gayatri Chakravorty Spivak (Baltimore & London: Johns Hopkins University Press, 1976): 3-65.  Gabrielle Brandstetter, *“*Political Body Spaces in Performances of  William Forsythe” in *Performative Body Spaces: Corporeal Topographies in  Literature, Theatre, Dance, and the Visual Arts* edited by Marlius Alensleben (Amsterdam & New York: Rodopi, 2010).  André Lepecki, “Inscribing Dance,” in *Of The Presence of the Body. Essays on Dance and Performance Theory* edited by André Lepecki (Middletown: Wesleyan University Press, 2004): 124-139.

Mark Franko* is Professor of Dance and Coordinator of Graduate Programs at Temple University (Philadelphia) and Professor of Visual and Performance  Studies at Middlesex. His publications include *Martha Graham in Love and War: the Life in the Work*, *Dance as Text: Ideologies of the Baroque Body*, *Dancing Modernism/Performing Politics*, *The Work of Dance: Labor, Movement and Identity in the 1930s, *and* Excursion for Miracles: Paul Sanasardo, Donya Feuer and Studio for Dance (1955-1964)*. He is editor of *Dance Research Journal*, and founding editor of the Oxford Studies in Dance Theory book series. He edited *Ritual and Event: Interdisciplinary Perspectives* and co-edited *Acting on the Past: Historical Performance Across the Disciplines. *Recipient of the 2011 Outstanding Scholarly Research in Dance from the Congress on Research in Dance, Franko’s research has been supported by the National Endowment for the Humanities, the Getty Center for Research in the Arts and Humanities. The American Council of Learned Societies, the American Philosophical Society, the Humanities Institute UC Irvine, and the National Endowment for the Arts. He has taught at Columbia University, Princeton University, Purdue University, and the University of California Santa Cruz where he is currently emeritus; he was Valeska Gert Visiting Professor of Dance and Performance at the Institut für Theaterwissenschaf,t Freie Universität Berlin, and Visiting Professor at NYU Performance Studies, Bard College, Paris 8, Université de Nice, and the Catholic University of Leuven. His books have been translated into French, Italian, and Slovenian.

UN COLLOQUE CE WEEK-END

INFO ARCHIVES

En coopération avec la Bibliothèque nationale de France, dans le cadre des programmes 2011 et 2012 de numérisation concertée en arts, la médiathèque du Centre national de la danse a entrepris un important chantier de numérisation de revues anciennes, poursuivi en 2013.

Cinq titres sont déjà accessibles sur le portail de la médiathèque du Cnd et également sur Gallica. Il s’agit de :

La Danse (1920-1924)

Les Archives internationales de la danse (1932-1936)

Le Guide chorégraphique (1933-1935)

Arts et mouvement (1935-1936)

La Tribune de la danse (1933-1939)

http://mediatheque.cnd.fr/spip.php?page=documents_et_archives

http://gallica.bnf.fr/

EXPOS!

dance!

MOVES THAT MOVE US

OCTOBER 12, 2013 TO JULY 20, 2014

AN EXHIBITION BY THE DEUTSCHES HYGIENE-MUSEUM

Sponsors



For the first time, a major special exhibition examines both the aesthetic aspects and the social and cultural facets of dance and dancing. The Deutsches Hygiene-Museum’s project looks at dance both as an art in its own right and as a part of everyday culture - yet the exhibition’s primary focus is on the intermediate spaces in which both these aspects of dance meet and influence one another.

The exhibition draws on the traces dance leaves in the individual’s somatic memory and in the collective memory of whole cultures. This tangible and intangible heritage is recorded and passed on not only through the sophisticated notation systems of dancers and choreographers, but also through fascinating artefacts and “relics”. The project also emphasizes the fundamental dimension of intoxication, ritual and ecstasy that has always been found in dance as a religious practice, and that continues to play an essential part in modern dance phenomena such as rave and techno.

Dance comments on and subverts social conventions and norms concerning the body. Viennese waltzes, rock ’n’ roll, punk - new forms of movement and rhythm always set the status quo in motion, and stir up relations between the sexes and the generations. In the ensuing processes of marginalization, rebellion and commercialization, people develop personal, social and cultural identities. In the same way, dance in the 19th century in particular was felt to have an important function in the formation of national identities. The political instrumentalisation of dance involved mythifications, ideological interpretations and misunderstandings, which are critically examined in the present exhibition.

Dance allows us to see and aesthetically experience the hidden patterns of social life. From ballet at the court of Louis XIV to the Tiller Girls to performance art, break-dancing and flash mobs, dance uses movement to portray the fantasies, metaphors, structures and rules at work in other areas of our society — in government, business, and science. Nowhere are knowledge and pleasure bound together as closely as in dance. To make that relation come alive is one of the goals of the present exhibition.

CURATORIAL AND DRAMATIC CONCEPT

Dance is a volatile, ephemeral phenomenon. In order to capture its dynamic quality and complexity, the exhibition develops cognitive and physical approaches, giving equal importance to both. A knowledge thread, showing how dance both reflects and shapes culture and society, is interwoven with a dance thread that sets the visitors in motion, offering an immediate, physical experience of dance. Visitors are also integrated in the dramaturgy of the exhibition by the careful composition of conventional exhibits and multimedia installations, of artworks and performative stations. The tour becomes a dance in which each visitor invents his or her own choreography.

The exhibition reflects contemporary thinking about dance and its importance for our conception of ourselves as humans. Just as dance can be considered as a playful way of assimilating the world cognitively and physically, the exhibition with its experimental methods affords a deeper understanding of dance as a human activity.

http://www.dhmd.de/index.php?id=211

EN PISTE ! 15 juin 2013 au 5 janvier 2014 

Parade des plus beaux costumes de cirque 

sous le chapiteau du CNCS…

Comme la parade d’un cirque arrivant en ville, cette exposition mettra en scène, pour lapremière fois, de magnifiques costumes et parures issus des plus grandes compagnies aumonde. Dans leurs dolmans à brandebourgs, sacs ou léotards, ornés de motifs peints, debroderies et paillettes, Monsieur Loyal, clowns blancs, augustes, écuyères, acrobates, jongleurs, dompteurs, trapézistes et funambules incarneront la magie d’un art de la piste dansun tourbillon de couleurs et de lumière. Le CNCS invite les visiteurs à découvrir cet universdepuis l’apparition du cirque moderne au XVIII^e siècle, jusqu’aux mutations du cirquecontemporain.

Eléments présentés dans l’exposition 
Costumes, accessoires de costume et de jeu, malles, tableaux, photographies, affiches, maquettesde costumes et de maquillage, documents audiovisuels, entretiens avec des artistes, des costumiers, des fabricants, seront présentés au CNCS. Ces oeuvres proviennent des plus grandesfamilles et cirques du monde entier : Fratellini, Bouglione, Cirque Plume, Cirque du Soleil, CirquePhénix, Franco Dragone Entertainment Group… Elles sont conservées par les cirques eux-mêmes, mais aussi dans les riches collections de la Bibliothèque nationale de France, notammentau sein de son département des Arts du spectacle, ainsi que de collectionneurs privés, de costumiers et d’artisans.

Les coulisses de la piste aux étoiles
En complément à la présentation du vestiaire de ces personnages emblématiques, l’expositionfera entrer les visiteurs dans les coulisses du spectacle. De la conception du costume à saréalisation, elle mettra en valeur le talent d’artisans véritables maîtres d’art, des procédés de fabrication traditionnels ou plus contemporains, sans oublier les indispensables compléments quesont le maquillage, les perruques, les masques, les chaussures… Une loge d’artiste évoquera la transformation physique de l’artiste en personnage prêt à susciter le rire et l’émotion. A traverscette mise en scène, l’exposition présentera aussi l’évolution des costumes caracterisés enfonction des numéros, empruntant à l’art militaire comme au ballet, à la mode de l’exotisme commeà l’histoire ou à l’art contemporain...

L’histoire fantastique du cirque

Spectacle issu de l’art équestre en Angleterre au milieu du XVIII^e siècle, le cirque s’est diffusédans l’ensemble du monde occidental, jusqu’aux États-Unis, en Afrique et en Chine, créant uneforme de spectacle populaire et coloré, en perpétuel renouvellement à partir d’éléments qui ontforgé son identité : la piste, le chapiteau, le risque, la prouesse, le rire. Tout au long de son histoire, le cirque est mouvement et métamorphose, créant un art du costume très technique, tout aussiexigeant que spectaculaire.

Le département des Arts du spectacle de la Bibliothèque nationale de France

Le département des Arts du spectacle de la Bibliothèque nationale de France a pour mission decollecter, conserver, signaler et rendre accessibles au plus grand nombre, sur place et à distance, les collections constituant la mémoire des spectacles en France : manuscrits, maquettes, costumes et objets, photographies, audiovisuel, affiches, dessins et estampes, programmes et presse …ainsi que livres et revues. En outre, le département conserve de très nombreux fonds d’archivesd’auteurs, metteurs en scène, comédiens, décorateurs, costumiers, salles de spectacle, festivals etcompagnies. Toutes les expressions du spectacle vivant sont représentées : théâtre, cirque,danse, marionnettes, cabaret, spectacles de rue… ainsi que le cinéma, la télévision et la radio.

En savoir plus :http://www.bnf.fr/fr/acc/x.accueil.html