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Compagnie XY

Il n'est pas encore minuit...

Célestins, Théâtre de Lyon

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A high-flying act for 22 acrobats. The new work by XY goes further and higher, overflowing with energy because it’s … not yet midnight… The title tells us that the party is in full swing, bodies are rejoicing and there’s still time for fun, in a race against the clock.

 

Questions to Compagnie XY.

A word about the title: Il n’est pas encore minuit… what clues does it give us about the piece?
The party has been raging for a while but the intention is to carry on so long as the energy and fun keep flowing. So long as the pleasure of being together has not worn off and bodies are not yet exhausted. But the clock is ticking, time is almost up and it won’t be long before everyone heads home, thinking fondly of the party and its sweet excesses. The party is a bit like the story of Compagnie XY that is played out with each piece.

What exactly is the acrobatic vocabulary you employ in this piece?
First of all, the springboard plays an important role: the only mat is the one formed by the carriers. The springboard gives the dancer a little height, with a shorter and sharper rhythm than with people doing the lifting. It allows us to do acrobatic moves differently than just using banquine. We also work with dynamic entries in a column of three or four, and dynamic exits with dives or flips.

What new props do you use for this work?
We kept the bare stage so that the bodies form the decor. We will work with three or four wooden boards of 1.5 metres square used by the carriers to launch the flyers. The boards serve as lifts, esplanades, platforms, pedestals, catapults, landing pads, stages, tap-dance floors, islands, walls and ... wooden boards.

What does having 22 acrobats allow you to do?
To go even further, to do even more perilous stunts, fly higher and longer, falling harmlessly, ricocheting from island to island, letting one’s self be contaminated, smothered, crushed, rejected or ejected, all the while protecting each other.
The energy of swinging, falling and deviating leads us into more playful dynamics, light and full of flight, with a touch of derision.

What does it mean to push the limits of acrobatics?
Finding new forms or deviating the classic forms. We started from a set of principles:
- Phrases: instead of isolated figures, we work with phrasing, linking, rebounding.
- Deviations: the aim is to interfere with a figure already in motion and change its trajectory.
- Exits: we aim to counter the principle that the figure culminates at the peak; we want the culminating point to be no more than the transition to a “collapse.” We want to dig into the ground as deep as the flight was high. This inspires a
whole new piece of work on physical qualities: how do you go from a high-flying acrobatic sequence to total release, yielding to the ground or to those above or below you?
When we think about limits, we automatically think of higher and stronger but it’s also about exploring the edges of the territory and pushing it in all directions. For example, the way we miss a move or stunt.

What does the choreographer Loïc Touzé focus on in this piece?
Loïc is our twenty-three pair of eyes. He opens up horizons, puts words to our actions, emphasises rhythms, widens our vision of spaces and sharpens our physical qualities. This is the case, for example, with gestures that are di!erent from those required by lifts, like a relaxed state, a slow pace or floor work.

 

Questions to Loïc Touzé.

What does dance have to say about acrobatics?
My role is to contribute an understanding of movement and meaning. I come in at times to synthesize ideas, work on the rhythm and suggest Figures or perspectives on acrobatic figures. This time, for their dance technique, they chose to take classes in the Lindy Hop. There is a collective dimension to the work that is amazing to watch. It reminds me of the collective work we did in contemporary dance some 20 years ago and that proved very fertile for producing new choreographers. This is a propitious time for the circus arts and acrobatics.

What does the Lindy Hop – a 1920s dance from Harlem – have to do with your vision of acrobatics?
It’s a social, festive and casual dance. The changing of partners, going from pairs to solos or groups offers a host of possibilities. There are jumps in the basic steps that !t perfectly with our work. We saw that the Lindy Hop functions especially well with the lifts in pairs. We also try to capture the ‘bounce’ of that dance form and apply it to our acrobatics, while shaking up the rhythm and working with the momentum.

Image Blanche

"22 acrobats to go even further, to do even more perilous stunts, fly higher and longer, falling harmlessly, ricocheting from island to island, letting one’s self be contaminated, smothered, crushed, rejected or ejected, all the while protecting each other. The energy of swinging, falling and deviating leads us into more playful dynamics, light and full of flight, with a touch of derision."

 

Cie XY

Célestins, Théâtre de Lyon

Dates et horaires

  • Fri 12 Sep19:00
  • Sat 13 Sep15:00
  • Sun 14 Sep19:00
  • Tue 16 Sep20:30
  • Wed 17 Sep21:00
  • Thu 18 Sep21:00
  • Durée : 1h environ

Plein tarif

  • 1re série 29€
  • 2ème série 25€
  • 3ème série 16€
  • 4ème série 10€

Tarif réduit

  • 1re série 26€
  • 2ème série 22€
  • 3ème série 13€
  • 4ème série 7€

Abonnement

  • CatégorieB

Piece for 22 acrobats - 2014 - Run time 1h

Création collective

Collectif en tournée : Abdeliazide Senhadji, Amaia Valle, Andres Somoza, Airelle Caen, Alice Noel, Ann-Katrin Jornot, Antoine Thirion, Aurore Liotard, Charlie Vergnaud, David Badia Hernandez, David Coll Povedano, Denis Dulon, Evertjan Mercier, Guillaume Sendron, Gwendal Beylier, Jérôme Hugo, Mohamed Bouseta, Romain Guimard, Thomas Samacoïts, Thibaut Berthias,Xavier Lavabre, Zinzi Oegema — Collaborations artistiques : Loïc Touzé, Valentin Mussou, David Gubitsch — Collaboration acrobatique : Nordine Allal — Création lumière : Vincent Millet — Création costume : Nadia Léon — Directeurs de production : Peggy Donck et Antoine Billaud

Spectacle présenté avec la participation exceptionnelle de la région Rhône-Alpes.
Accueil :  Célestins, Théâtre de Lyon - Biennale de la danse

Production Compagnie XY – Coproductions et accueils en résidence Biennale de la danse de Lyon 2014, Cirque Théâtre d’Elbeuf (Pôle national des arts du cirque de Haute Normandie), Scène nationale de Melun-Sénart – Accueil en résidence : La Brèche (Pôle national des arts du cirque Basse-Normandie), La Cité du Cirque (Le Mans), Le Prato (Pôle national des arts du cirque - Lille), Maison de la Danse (Lyon), Pôle Cirque Méditerranée (Théâtre Europe La Seyne, CREAC Marseille) – Coproductions CIRCa (Pôle national des arts du cirque Midi Pyrénées), EPPGHV-Parc de La Villette, L’équinoxe - Scène nationale de Châteauroux, MC2: Grenoble, L’Onde - Théâtre de Vélizy-Villacoublay, Scène nationale d’Orléans, Le Phénix - Scène nationale de Valenciennes, Pôle Cirque Méditerranée (CREAC Marseille, Théâtre Europe La Seyne), EPCC Le Quai - Angers, Théâtre Brétigny- scène conventionnée du Val d’Orge, La Verrerie d’Alès - pôle national cirque Languedoc-Roussillon – Soutiens Il n’est pas encore minuit… est soutenu par le ministère de la Culture au titre de l’aide à la production par la DRAC Nord-Pasde- Calais et au titre de l’aide à la création arts du cirque par la DGCA ; par l’Adami au titre de l’aide au projet.
Spectacle présenté avec la participation exceptionnelle de la région Rhône-Alpes.

Photo © Cristophe Raynaud de Lage