Création . scénographie et costumes . Orfeo

Cocoondance Company
Choreography, Direction: Rafaële Giovanola
Orfeo, inspiré du mythe d'Orphé. Penser à ce qu'est voir, son point du vu. Voir, est-ce un principe qui donne une réalité, même à un moment furtif? Penser l'incarnation de l'autre, de celui qui danse et de celui qui regarde. Entrevoir ce qui fut et ce qui sera. Transmettre une expérience, inclure les spectateurs dans un mouvement ou dans un état.. Différentes réflexions ont porté cette création, le désir de faire ressentir cette expérience étant au coeur du dispositif.

The audience sits in front of wide mirrors with their back to the stage. The rear wall is mirrored as well. Although the dancers are turning their back on the spectators, the audience can still watch them from the front and vice versa. Often the view is also fragmented, because the mirrors never reflect the entire space.
In addition, every spectator gets a small mirror. That allows them to focus their individual view on what’s happing behind their back. The spectators can also see themselves in the mirror, sometimes catching the view of other spectators or the dancers who are equipped with small hand mirrors as well. The dancers are exhibiting their bodies and artistic perfection for voyeuristic pleasure. At the same time, they are hiding behind their reflecting images. This constant change of perspectives questions our own perception and opens irritating gaps of reality. Is the visible the reality or the seen already in the past? How do performers and viewers locate each other?
Down through all the epochs, the myth of Orpheus and Eurydice has undergone numerous variations and adaptations. As a reminder: In antiquity, Orpheus was a singer who could mesmerise his surroundings through his music. Since he could not accept the death of his beloved Eurydice, he descended into the underworld with the help of his songs, because he wanted to bring her back to life. Eventually, he was allowed to take Eurydice with him, but he was ordered to walk ahead of her and under no circumstances might he turn around. However, Orpheus violated this ban announced by the gods, and he lost Eurydice forever. His grief flowed into his songs, and they made him immortal as an artist.
This probably most influential myth of the artist is employed by CocoonDance as a reflection on the nature of art. The space between life and death, between future and past that Orpheus has to conquer is nothing more than a place within art itself that every artist has to penetrate.
As before in ‘Pieces of Me’, this new project by CocoonDance under the direction of choreographer Rafaële Giovanola develops the dance space away from a narrative space to a ‘distance and think space‘, a space for common experience, for collective experience. // A collaborative work with Cristian Duarte in coproduction with Théâtre du Crochetan Monthey (CH), Theater im Ballsaal Bonn (D), LOTE São Paulo (BR)
// Supported by: Kunststiftung NRW, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen, Bundesstadt Bonn, Théâtre-ProVS, Le Conseil de la Culture Etat du Valais, La Loterie Romande, LOTE (São Paulo)

// By and with: Dennis Alamanos, Fa-Hsuan Chen, Álvaro Esteban, Werner Nigg, Tanja Marin Fridjonsdottir, Susanne Schneider 
// Choreography, Direction: Rafaële Giovanola // Music: Jörg Ritzenhoff // Libretto: Jacinto Lucas Pires 
// Set, costume: Kristelle Paré // Light design: Dimitar Evtimov // Outside eye: Roberto Fratini Serafide 
// Workshop vocal art: Eurudike du Beul // Assistance: Arthur Schopa, Céline Fellay // Dramaturgy, Concept: Rainald Endraß 
// Management, PR: mechtild tellmann kulturmanagement 

Premiere: 26 March 2015, Théatre du Crochetan, Monthey (CH)
German premiere: 22 April 2015, Theater im Ballsaal, Bonn (D)

tournée 2016 - Cocoondance 


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