- Movie theater
- Saturday, December 17 at 2pm
- Free
- Choreographies, commentary in French
The Institute celebrates dance throughout the month of December, whether from here or elsewhere. In addition to the three series of shows scheduled on December 15, 16 and 17, the French choreographer Loïc Touzé offers you a journey back into the history of dance, through extracts of choreographies filmed in the nineteenth and twentieth centuries. See you on Saturday, December 17 at 2pm for a very special cinema session…
Followed by a Q&A with Loïc Touzé, dancer, choreographer and teacher
74 minutes
– Two excerpts from La Féérie: Fantastic Ballets of Loïe Fuller, 1934, choreography by Loïe Fuller, direction by George R. Busby
– Denishawn, 1919-1930, 6 minutes, silent, school of Ruth St-Denis and Ted Shawn: student training exercises + solos by Ruth Saint Denis Document on the school founded by Ruth St.Denis and Ted Shawn. The first part, silent, was filmed in 1915 in Los Angeles. The second part, which dates from 1930, offers dances from Siam, Java and India reconstituted (revised and corrected) by Ruth St.Denis
– Air For the G. String, 1934, 7 minutes: choreography by Doris Humphrey, performed by Cleo Athenof, Doris Humphrey, Dorothy Lathrop, Hyla Rubin and Ernestine H. Choreography created by Doris Humphrey in 1928, a sculptural dance at Bach’s tomb, in which five women dressed in long draperies in the style Renaissance move slowly in procession. It is an abstract piece — without a story — but it has a pious, almost religious aspect. Air for the G String is an unusual work for Humphrey: its outlook was humanistic, not religious, and it focused on human relationships.
– So schnell, 1993: choreography by Dominique Bagouet (1990), direction by Charles Picq, music by Jean-Sébastien Bach.
A centerpiece in the work of Dominique Bagouet, this So Schnell is a second version of the 1990 piece, re-edited and tightened, to which he has chosen to add, at the opening, the famous duet from Déserts d’amour, interpreted this times by two dancers: Catherine Legrand and Olivia Grandville. Shot in the summer of 1993, a few months after the choreographer’s death, this adaptation brought together the entire company, before it was dissolved. This film faithfully captures the spirit of the play: delicate dance chiselled down to the smallest detail, profusion of irresistible movement, the skilful complexity of which we see up close here, finally a predilection for shifts in the atmosphere, between mystery, unbridled vitality, access of humor, self-mockery and seriousness. We see here at work this duality specific to Bagouet, which propels each element of the show from dazzling affirmation to its opposite.
– In the Hollow: It is a film about the process of creating the choreographic piece NO OCO by Loïc Touzé, produced with the 23 dancers of the Ballet de Lorraine between 2019 and 2020. In the Hollow takes hold of this choreographic experience and offers a filmic form freed from its context where the imaginary of the piece and the work process contribute to a new fictional narrative.
