LE FESTIVAL CIRCa / AUCH
LA GRAINERIE / TOULOUSE
LE LIDO / Centre des Arts du Cirque de Toulouse
Créé en 1983, le Lido est un centre de formation aux arts du cirque. Reconnu pour la qualité et l’originalité de son enseignement, son projet pédagogique privilégie les méthodes de l’éducation nouvelle : uneauthenticité scénique renforcé au contact d’un collectif. L’école favorise les échanges et la cohérence entre pratique amateur et professionnelle :
Autour de ces deux secteurs, le Lido co-organise de grands évènements liés aux arts du cirque (Midi-Pyrénées fait son cirque en Avignon, Toulouse en Piste, …). Il agit aussi :
Après des études en médecine et la création d’une compagnie de spectacle, Francis Rougemont entre en 1994 au Lido pour y fonder l’école professionnelle avec Henri Guichard. Il prend la direction du centre en 2006 et s’entoure d’une équipe pédagogique et artistique : Christian Coumin (référent artistique), Aurélie Vincq (Responsable de l’insertion professionnelle), Marie-Céline Daubagna (responsable de la formation professionnelle), Camille Sicre (responsable pédagogique du secteur amateur), un comité d’artistes (Sylvain Cousin, Florent Bergal, Stéphane Fillion, …) et une équipe d’enseignants.
Ensemble, ils dessinent au quotidien les orientations du Lido tout en maintenant un projet pédagogique fort dont les objectifs sont la réalisation de la personne, en éveillant ses facultés corporelles et favorisant les relations affectives et sociales ainsi que l’expérience collective, citoyenne, partagée où l’autre est tout aussi important que soi-même.
Le Théâtre national de Toulouse Midi-Pyrénées
En janvier 2008, Agathe Mélinand et Laurent Pelly sont nommés codirecteurs du Théâtre national de Toulouse Midi-Pyrénées. En 2008, Laurent Pelly y met en scène Jacques ou la soumission et L’avenir est dans les œufs d’Eugène Ionesco et Le Menteur de Goldoni traduit par Agathe Mélinand. En 2009, Laurent Pelly créé Talking Heads d’Alan Bennett au TNT, spectacle joué au Théâtre du Rond-Point puis au Théâtre Marigny. On lui décerne le prix de la SACD 2009 pour la mise en scène. La même année, Agathe Mélinand et Laurent Pelly proposent Cami, la vie drôle ! un spectacle pour les comédiens de l’ATELIER du TNT. Agathe Mélinand écrit et réalise en 2009 Monsieur le 6, d’après Sade. En 2010, Laurent Pelly met en scène Mille francs de récompense de Victor Hugo (repris à l’Odéon en 2011), et Funérailles d’hiver de Hanokh Levin (repris au Théâtre du Rond Point). En 2011 Laurent Pelly met en scène Les Aventures de Sindbad le marin d’Agathe Mélinand. La même année, elle réalise Tennessee Williams – Short stories créé au TNT et repris en 2013. En 2011, Laurent Pelly met en scène les comédiens de l’ATELIER du TNT dans J’ai examiné une ampoule électrique et j’en ai été satisfait d’après Daniil Harms. En 2012, il met en scène Macbeth de Shakespeare au TNT repris en 2013 au Théâtre des Amandiers. Agathe Mélinand écrit et réalise en 2013 au TNT Erik Satie – Mémoires d’un amnésique, en tournée sur la saison 14-15. La même année, Laurent Pelly met en scène Mangeront-ils ? de Victor Hugo au TNT, repris au Théâtre de Carouge et au Théâtre la Criée à Marseille. En 2013, Laurent Pelly et Agathe Mélinand proposent Edgar Allan Poe - Extraordinaires avec les comédiens de l’ATELIER. En mars 2014, Laurent Pelly créé au TNT Le Songe d’une nuit d’été de Shakespeare. Il mettra en scène en 2015, L’Oiseau vert de Carlo Gozzi dans une traduction nouvelle d’Agathe Mélinand.
Le Théâtre Garonne
Les Théâtres Sorano et Jules Julien
Friday october 17th
Cridacompany, Mañana es Mañana
Mañana es Mañana is the fourth creation of the company, the premiere have been presented at the Montpellier Dance Festival on the 2nd and 3rd of July, 2013. After On the Edge (2007), Aïe (2010) and Malabo (Cabaret Crida – 2011) Julien Vittecoq and Jur Domingo extend their creative work with a new show, Mañana es mañana. Gabriel Agosti and Anicet Léone join them on stage, forming an innovative quartet that blurs the boundaries between disciplines and allows for brand new keys of interpretation.
“In this apparently nonsensical context, Mañana es mañana was born and created by four voices, along with Gabriel Andrès Agosti and Anicet Leone, arising from pain and feelings, to pitch the circus drunkenness and confuse the dance all the more”. Lise Ott, text translated from Montpellier Dance Festival’s 2013 programCridacompany is a franco-catalan company settled in Toulouse - France, born in 2006 after two artists, Jur Domingo Escofet and Julien Vittecoq, met at the Lido (the centre for circus art in Toulouse). Together, they offer powerful and strange performances, where virtuosity is closed to the invention of a new language between circus, dance and song. Using body as essential material, they work on hitch and distortion. From this emerge characters and situations imbued with a puzzling humor. They make light of the body and its possibilities. In a bare style, they enjoy themselves casting an original glance over situations.Cridacompany is producer of their shows, exhibitions and concerts, in France, in Spain, and over the world. Cridacompany is associated to CIRCa, national center for circus arts.
Sacékripa, VUBlending Object Theater, miniature circus and accidental clowning, the show « Vu », a solo performance for one juggler of daily objects, stages (brings to life) a meticulous, excessively sensitive and methodical character.This silent show speaks of the small obsessions of everyday life. Those very obsessions which can sometimes turned mannic and which, by drowning in details, drives people nuts.By and with Etienne Marceau
Baro d'Evel, MazutWe look for capture these moments, these unstable places, there where the body trembles when searching immobility, at the border between the domain and non-domain, between control and abandonment.The important thing perhaps lies in what happens between the pauses between the peaks when one gets lost, when the body must find the solution, it is in these crossings that one can trap the other, feel him, find him, there where no more is demanded, there where we let go.... because nothing goes as planned, everything changes, we adapt continuously, without even realizing it.We seek to free the horses we are. Relying on the pace, we try our human legs to be- come animal legs, our bodies to find the instinct. In this search for the primitive move- ment, we like to provoke the metamorphosis of the body, giving rise to dreamlike images. We continue our search in the “portés” (hand to hand acrobatics), acrobatics and jumps.This work on the imbalance, imposes a certain purifies and raises another look at the feat, it makes it more intimate.The projects of Baro d’evel are always born from an impulse towards improbability, at the border between intimacy and achievement.Baro d’evel’s languages are movement, acrobatics, “portés” : it is through the participation of the body and daily training how research tracks are born. It is also the subject, the object, addressed through manipulation, diversion, always facing simplicity rather than ostentation. The starting point of the shows is often a decided stage set choice, a questioning about the place the spectator occupies in the space. Rhythm, voice and sound play a dominant role in the work of writing, in order to place musicality at the centre of action and therefore create a direct and sensory relationship.During the creations it is about letting the imperfections of the body in action reappear, its inner turmoil, its fragile excesses, giving way to the strange strength of imbalance. It is also about incarnating beings who improvise, who adapt, instinctively simple and profoundly amazing beings, evoking roles, states, rather than characters.
Cirque Aïtal, Pour le Meilleur et pour le pire
Far from glitter, Cirque Aïtal performs on earthen circus and presents Pour le meilleur et pour le pire.While a car-radio is playing, an acrobat couple’s places the audience in their intimacy of extraordinary relationship.
Screaming and yelling for life, they melt with rhythms and dust, breathing gasoline, among dogs, shifting from laughter to tears, meeting death, always on the road, inside the car, sad, happy… Pour le meilleur et pour le pire tells the story of two artists bathed in poetry, rock ’n’ roll and humour.Doing hand-to-hand, astonishing acrobatics, icarian games, aerial stunts, balancing acts … Victor & Kati, together on stage, present their own view of circus. Confronted with the generosity of Victor & Kati, the public is filled in deep and intimate sensations.Concept and performance :Kati Pikkarainen and Victor CathalaDirectorial support : Michel CerdaMusical score : Helmut NünningLight design : Patrick CathalaCostumes : Odile HautemulleConstruction and scenography :
Alexander BügelCircus consultant : Jani NuutinenSound and electronics :
Andreas NeresheimerTechnicians : Patrick Cathala, Simon Cathala, Pierre-Yves Dubois, Guillaume PissembonAdministration : Bérangère Gros www.cirque-aital.com
Saturday october 18th
OktobreFour characters: a black table... and the other three.They come from nowhere in particular, and aim to go nowhere in particular... They are just here...Immersed in a world both dark and absurd where all time rules are broken, the events they have to live are right here...Yann, Eva and Jonathan develop a violent world featuring black as the default color.Along with an irresistible black humor, fear, melancholy and excess are everywhere.Softness - and pain - are also present.The clumsiness reflects their difficulty to adjust to reality, while the magic demonstrates their availability to any potential.Twisted existences and individual moods are drawn by a high-level circus techniqueThe omnipresent surrealism worries and intrigues.A very aesthetic universe in its simplicity, a table surrounded by three chairs. Simple in its colors - red and black, and simple in its logic - events unfold, no questions asked.It can be seen as a circus show with outrageous characters in a world of dark fantasy or as a sharp look at human behavior.In any case, it releases an emotional charge prone to both touch and unsettle the audience.The work unfolds as a series of solo, duet, and trio vignettes, designing a universe from which the notions of time and logic are absent, featuring characters as hard as they are soft, and as deeply innocent as they are profoundly guilty.Here in Oktober, the end justifies the means.All becomes increasingly uncontrollable; there are no rules in this game...Eva - She offers a different way to present the art of trapeze, using extreme physical and psychological situations. A trapeze virtuoso and with a unique technique, she manages to create a tension that holds the entire audience spellbound. She displays a vast play range, where hardness works alongside hysteria and grace.Jonathan - A tortured acrobat, there is an unusual physicality about him - with an incredible intensity and animalism - allowing him to express his battered relationship to the world.Yann - Fascinated by magic and clowns, he became a virtuoso manipulator of objects. He won the French and European magic championship in 2010 and was sacred world champion in 2012. He sees himself as an object worker. He always considers different ways of understanding an object. Interested in the burlesque scene, he also acquired a mastery of body movements, which he often uses in his work. He sees tragedy as one of the best way to generate laughter.Florent – He is a choreographer, director and object manipulator. He is captivated by body movements and what they entail. He travels the world in order to share his knowledge. He can give an acrobatics course, teach you choreography, make you scream, play a Rachmaninov tune on the piano and speak several languages in order to understand the menu at the restaurant when he goes abroad. He loves pain and laughter, hence circus. He favors shows that are expressive rather than demonstrative, although he appreciates their beauty and obviousness… like a feel-good circus.
Akoreacro, KlaxonAlchemy between music and acrobatics, AKOREACRO occurs for almost 8 years around the world, but this time it was in his tent that the show will take place.Roaming, this creation circular, draws the expertise of former taking into account contemporary issues. With virtuosic invention and many acrobatic technique, artist collective imagination confronts reality. On the track, 5 musicians and 6 acrobats cross, intersect, support, pass the ball ... A world everyday surprising that what is supposed to be normal is magical, a piano that panics, approximately trainer, sounds slamming in the dark sweet follies each seek light. At once funny, wacky and spectacular, still the limits of feasible, each will try to climb up to his desires. In this circle each has its partition, its vision, good reason. A collective creation defended bodies and souls by these multi-talented artists. All driven by a unique and contrasting music composed for this improbable journey where fantasy is none other than the reality of the artist.
Collectif Petit Travers, Les beaux orages qui nous étaient promisFine Light (which we were promised), features seven jugglers. This number multiplied enriches the principles of composition, their relationship constantly reinvented time, their absolute faith in the tonic clarity of the moment, sound, movement. The encounter with pure sensation. Even more than in the previous parts, affirmed collaboration with composer Peter Jodlowski enriches the collective will explore the close ties between the practice of juggling and musical composition.
Le Petit Travers features music, dark comedy and immaculately choreographed object manipulation. A magical seventy minutes for everyone and a definite must-see for contemporary circus and juggling fans. Nicolas and Denis met at the Centre des Arts du Cirque in Chambery in 1998 and have worked together ever since. They also studied at the Lido Circus School in Toulouse (whose alumni include Aurélien Bory and members of Compagnie 111) and were major prize-winners at the Jeunes Talents Cirque showcase in Paris in 2004.
Sunday, october 19th
Cie 111, Sans objetIn Sans Objet two acrobats and one industrial robot enact a dance between humanity and technology. As the robot is born, begins to react to its environment, develops self-awareness, and finally moves beyond to express an inscrutable purpose, our definition of humanity and its limits is stretched and tested. Here the director Aurélien Bory talks about the creation of the work.The machine is at the centre of the stage – he's the motor, the engine, the power, and the mystery also, because the machine is not only one thing in this show. It is many, many things in this show. Sometimes it is completely hidden and we don't see it. At the start it is covered by a black plastic sheet; we cannot see the machine, but this only makes it more alive as it moves underneath. It is a kind of kinetic sculpture, speaking of the birth of the shape, the birth of life, and the birth of beauty – because it is a very beautiful thing that is made with an ugly plastic sheet. At the end, Sans Objet is connected with death, or not really death but a kind of question mark, and I wanted to work in-between these two things – between birth and the question of death or what is next – in creating a dance between human beings and technology.
Founded in 2000 by Aurélien Bory the compagnie 111 develops a « physical theater » singular and hybrid, a crossbreeding between different, converging fields in the performing arts (theater, circus, dance, the visual arts, music...). Its shows toured all around the world and this international notoriety begins with Plan B (2003) and Plus ou moins l'infini (2005) created in collaboration with Phil Soltanoff. Also inspired by dance, Aurélien Bory directed the choregrapher Pierre Rigal in Erection (2003) and Arrêts de jeu (2006). Then he conceived two portraits of women: Questcequetudeviens? for the flamenco dancer Stéphanie Fuster (2008) and Plexus for the japanese dancer Kaori Ito in November 2012. For « Marseille-Provence 2013 – Capitale européenne de la culture » he creates Azimut inspired by the Moroccan acrobatics for the Acrobatic Group of Tangier. His interest for sciences influences his aesthetic. Aurélien Bory’s works are driven by the question of space and leans on the scenography. His theatrical work can only be developed through « the renewal of the form » and « by leaving room for the audience’s imagination ».
Le VideHere you will see what some call a performance, others a show. Indeed difficult to describe this amazing shape, funny, and deep where we can all see a very physical reading of the 'myth of Sisyphus "by Albert Camus, a questioning of what a simple object rope suspended ceiling .Fragan Gehlker (cordeliste) Alexis Auffray (plateau for his violin-technical) and Maroussia DiazVerbeke (for drama) created by a writing trio work, a principle of solo, duo for a show !In a rare intensity, 'The Void' makes us wonder about the absurdity of life, the strength of a radio-cassette, and 15 meters in the vacuum can fall !It's as simple as that.Lifetime perseveres principle.In principle, it obviously fails.Any time before it is victory.That's what you come to see!Fragan Gehlker - climbing ropeHis father was a circus performer and his mother was in turn dancer , actress, stage director puts and kinesiologist . He has very young attended their shows. At 12, he left work with his father with circus companies. He then joined ENACR in Rosny -sous -Bois where he saw his first sedentary years, then CNAC to Chalons en Champagne . He participated in the show output 21st CNAC , " Urban Rabbits " directed by Árpád Schilling . This meeting was very important to him. He then participated in the French establishment " Noéplanète " presented at the Théâtre National de Chaillot in October 2012 and today continues to work alongside directors from Hungary .Alexis Auffray - violin,Alexis grew up with a violin in hands. The practice of this instrument has long bathed in music classical . This is an impression that he kept throughout the rest of his musi -cal course. Today, before being a musician, he is sondier . He met with the circus, and Fragan , working with Árpád Schilling on the creation of the show output 21st CNAC , " Urban Rabbits ". They then found in 2012 on " Noéplanète ."
Mathurin Bolze, Nous sommes pareils à ces crapauds qui dans l’austère nuit des marais s’appellent et ne se voient pas, ployant à leur cri d’amour toute la fatalité de l’universTwo men and a woman open a field for a new story. They will take together various ways to explore love duality. In front of them, an orchestra with four musicians, greek and tunisian mixes the classical greek rebetiko with the popular tunisian Cheikh El Afrit repertory. This humanity makes society, and turn all the drawn ligns round, as all the frontiers.
Ali says things without words about our encounter where one becomes two, where two are twinned or come apart, perhaps a double, a projection of one upon another, a close encounter of the third kind. A hybrid form to show the other’s motion of interrogation, a line of tension to structure our research like in the frenzy of the circus, going straight to the point. Laughing in the face of fright because there is a fairground beast, a roaming freak, both in each one of us and also between the two of us.
Mathurin Bolze is initiated to performing arts with the stage director Jean-Paul Delore for four creations and made a intership with Archaos (Métal clown tour) before integrating the centre National des Arts du Cirque. The, he joins the Anomalie circus group for the Cri du caméléon tour, choreographed by Joseph Nadj. He took part of many creations as 33 tours de pistes (circus concert) or Et après on verra bien. In 2001, he is co founder of the compagny les mains les pieds et la tête aussi as the artistic director. He created solos La Cabane aux fenêtres in 2001 andFenêtres in 2002, then Tangentes in 2005, Ali in 2008, Du goudron et des plumes in 2010,utoPistes in 2011 and A bas bruit in 2012.
Les Philébulistes, HallaliThe "Hallali" will sound, the countdown has begun."Hallali" space invested by the young players, light and shinyIt screams, it short, it soars and weaves ...Hallali, inevitable leak in whimsical and fun games."Hallali", dizzying and surreal where time constantly accelerating experience.Embedded in a gigantic structure that looks like a ship, six trapeze prepare to play their show ...
The singularity of Philébulistes due, in large part, to their commitment to the evolution of air acrobatics. It is reinventing and rewriting practice, working from experimental structures. Philébule - machine circus presented in the show Arcane and gives its name to the company - is a new apparatus. For this new creation, the challenges of creativity lie at several levels: design of a gigantic scenic structure (implantation of approximately 22 mx 8 m on the ground, 10 m high), invention of a new aerial acrobatic art, writing a piece of copyright (the artistic project basis). It is about Circus art in public space (in walls and also by necessity), to reach a large audience with popular shows of high quality.
Monday, october 20th
Les Escargots Ailés, Chauve-SourisThe bat, just like the circus aerial acrobat, moves through the air with ease. It connects heaven to earth, often hanging upside down, it defies the laws of gravity. This acrobat of the night sees the world upside down and reveals to us the backstage.The show depicts the relationship between these two flying beings. It is inspired by the lifestyle of this elusive animal and reveals a fantasy world . In this duo of aerial acrobats , beyond their primary discipline, rope and straps, their aerial agility allow them to reinvent an interpretation of the animal by man. Based on a choreographic circus writing, the dialogue between the bodies unfolds, the stage set allows them to express themselves upside down as much as right side up. Its organic manifestation appears and changes forms according to the light, the shadows and the projected images.
A nocturnal baby bat, meets another bat that lives during the day. This difference brings them together. An unexpected event will force a hasty departure. Together they face many dangers and share adventures that will push them, beyond their differences, to live together. The music, an original composition, is rich in details and auditory images. In constant dialogue with the body, it takes us on a journey between what we see and what we hear .
Founded in 2000 by Andre Mandarino, a brazilian artist, the Company "Les escargots ailés" (The flying snails) developed a practice of circus arts, combining aerial circus, dance forms, music and theatre. Andre Mandarino was trained at the National Circus School of Rio de Janeiro (Brazil) and at the National Theatre of Circus Art in Chalons-en-Champagne (France), which represent two very different movements in the circus world. He specializes in aerial acrobatics. His creations are inspired by the confrontation and encounter between those two art forms. « Suspended » between the two cultures, his research is based on a subtle blend of genres, between fluidity of movement, poetry and technical performance. Right from the beginning, Les Escargots Ailés offers motley and eccentric propositions which place them decidedly in the contemporary circus. In 2012 the performance for children « It’s raining cats and dogs » was a milestone for the company. Confirmed by the interest that this proposal still meets with audiences today, it deepens and confirms that the creative process leans towards a choreographic circus for children.
Collectif AoC, Une dernière pour la route
In this new creation, the group puts AOC once again, the spectacular serving a purpose that touches : the individual and the group. The famous "living together" is observed, questioned, dissected, choreographed ... How assert its singularity in a hyper codified society ? How to integrate, find his tribe, including age, dispose of, or may not be in the standard to find, understand ? It is through movement, humor, counterpoint and sometimes absurd, they try to find an answer to these eternal questions. Trampoline, trapeze, aerial cradle, Chinese pole, wire ... acrobatic move is part of the narrative as a medium of experience, the intimate to the universal.
Ten years after the creation of their first show " Syncope 7 " to Nexon, artists from Collectif AOC have toured throughout France and around the world. They continue to explore, deepen what makes the soil, the founder of the company identity : the question of collective and individual, mixed techniques, and the confrontation with a choreographer and feeding at each meeting their circus world .
Compagnie dernière minute, Pierre Rigal, Bataille
Bataille is a confrontation between two physical actors: on one hand Hassan Razak, specialist of body percussion and on the other hand Pierre Cartonnet, specialist of acrobatics. This confrontation is a complex, paradoxical and ambiguous battle. is it a realistic dance or a choreographic fight? Is it a contract accepted by both parts or a unilateral violence? Is it a fool’s game ? Is the violence undergone or granted? Masochist or sadist? This battle plays with the oppositions: inside and the outside of the story, the alternation of humor and anxiety; the round trip between realism and abstraction. All these paradoxes underlines adverse relationship between the ego and its Unconscious, occasionally the master on board of this game of mutual illusions. It is also two relations in the flow of life that confront what causes inevitably disappointments, violence, enjoyments, dominations, submissions, ecstasies… Georges Bataille, who gives his title to this piece is not very far any more. He wrote: " I lost faith in a burst of laughter " or still " everything was false, until my suffering. I began again to cry as long as I could: my sobs had neither tail, nor head. " It is in this permanent ambivalence that the piece places its balance hesitating between hope and disappointment. The body percussion, the choreographic vocabulary studied in all its variants, becomes apparatus on which the direction of the drives of life, death and violence is going to be able to lean.Pierre Rigal is composer and producerHe founded Compagnie Dernière Minute in 2003 and choreographed his first solo-performance : Erection, co-directed by Aurelien Bory.In 2005, he performed in Dans la peau d'un autre choreographed and directed by Ariry Andriamoratsiresy. In 2006, he created Arrêts de Jeu (co-directed by A. Bory), a Theâtre National de Toulouse production. In May 2007, Rigal took part in the « comme un été » festival, with a photo-installation : La mort est vivante presented at the Théâtre National de Toulouse.In 2008, he created his internationally acclaimed new solo Press at the Gate Theatre in London. In 2009, he choreographed Asphalte, a creation for five breakdance performers, within the Suresnes Cités dance Festival framework in Lyon.Micro, his latest creation premiered at the 2010 Avignon Festival and in January 2011 at the Théâtre Vidy-Lausanne in its finalized version.In 2012, he presented Standards, a production with 8 hip-hop dancers at the Suresnes City Festival. The finbalized version was presented at the Festival de Marseille. His latest production Théâtre des opérationswas created in Séoul in 2012. In 2013, Pierre collaborated with Jean-Michel Ribes for the revival of Théâtre sans animaux and with Emmanuel Daumas for the dramatic play Anna.In 2013 at the Festival d’Avignon, he produced with the choreographer Hassan Razak, Bataille, also bringing the talents of Pierre Cartonnet, actor and acrobat. The entire play was presented at the Hippodrome de Douai in December at the Les Multipistes Festival.
Cheptel Aleïkoum, Circa Tsuica, Maintenant ou jamaisUnder the starry sky of their tent, the artists invite the public to share their area of freedom, that of music and circus, as it is now or never !In this circular space where every seat is the best, Circa tsuica wonders and asks questions to the public : is it utopian to want to invent another relationship with the public? To be simply set in the present, and to be happy ? Giving way to the opinions and individual differences within the same group, and by extension a society?Both judge and jury, the public can enjoy these moments of sharing music, cycling, many, many, in the air, hands ... In this show, the spotlight is made cycling freestyle, a discipline that is definitely full of surprises ... Switches, worn, trapeze, unbridled imagination and humor are also undisciplined at the rendez vous.Music always made with the circus will be here perfectly diabolical. Sometimes accompanying, sometimes founder, often symbiotic it will cause the public and artist in a single movement .With them tonight, anything is possible !Filled with burlesque ingredients, circus, music and choreography, Circa Tsuïca offers an extraordinary musical circus theatre.Founded in 2002, "Circa Tsuïca" consists of 14 circus artists from the National Centre for the Circus Arts in Châlons-en-Champagne (France), which is dedicated to combining acrobatics and music and thus, creating a unique circus experience.
Buren Cirque, Cabanons
This show features two different artistic interventions. The first, by Daniel Buren, involves the creation of three Cabanons (cabins) in public space. The second is a circus show that tours these Cabanons. In each venue, up to 150 audience members will see each performance – in a different order, but at the same time. While the audience stays in the same place, artists, acrobats, dancers, contortionists, performers and musicians move around.
Buren Cirque is the result of a meeting between art and artists – visual arts, stage arts and circus arts through regional cultural development projects. Thanks to different structures created by Daniel Buren since 1999, the group travels around the world – France, Italy, Brazil, Japan, Morocco, Mali and Burkina Faso. The question asked by Buren and other artists is: how can we perform on stage and under the big top in a way that questions the relationship between the public, artists, space, watching and listening?
Tuesday, october 21st
Companie XY, il n'est pas encore minuit
Le P'tit Cirk, Hirisinn
These are the people of the tribe. They speak a language that can do without words but never looks, breaths, merry whistling, hands that are placed on the shoulder, shoulder used to jump to the blue sky or vacuum. Their language is that of the heart and is a beat that is seen in the center of the track. Shown to accelerate and slow down, almost shut. The heart of the tribe, it is a trapezoid that slides upwards, which moves, which panics, as we run or we refuse to get carried away with the race. They take risks and make us shiver. Yes, but they are together and this is a link that never breaks. Breton, the word means hirisinn hairs bristle. Hirisinn gives goosebumps. And it is as if we regained confidence. Whole is still possible. In their eyes you can read without the other I'm rien. Avec new circus, Danielle Le Pierrès more Christophe Lelarge are six. The duo of two young energy increases with the taste of Chinese rings, two musicians wielding saxophones and bandoneon rhythms which color yellow tent and the round track as a watch with which it is so exciting to play. Looks like they help us to conquer time, boredom and many other miseries. Guy Darol writer.
Before creating their own company, and Danielle Le Pierrès Christophe Lelarge have traveled the world and many circus adventures (Turbulence, Cirque du Soleil, Archaos, Cirque Plume, Jumps Arts... ), a long path whose end has become a beginning. With their three shows (Togenn, 2005; Tok, 2006 and 2 in 2009 ), they showed that Le P'tit Cirk had a language, smile balance on dizzying swirl of the world, a vocabulary without bluster or complication, simply scope of those who think that in the beginning everything is not the word but the emotion.
Le Grand C, re creation by the CNACExperience this quintessentially French circus spectacle as seventeen nimble young performers create a 360 degree alternative universe of acrobatics, dance, music and human pyramids.A mass of finely honed, agile bodies, they surge, they merge, and they whip up a physical frenzy to form a breathtaking journey through the air and on the ground. Through sharp observation and original interpretation, they lay bare the rituals of any day anywhere in the world – from a city skyline, to a rugby scrum, to an elegant pirouette in flight. Compagnie XY have created a humorous show with an edge, for an audience of all ages who like a spectacle with risk and daring.The Cnac is an establishment of international standards, created in 1985 by the ministry of Culture and Communication. The Cnac is made up of the following :A centrer for higher education in the Circus Arts, divided into three axes, as follows:- a higher education establishment that provides a course leading to the DNSP and a BA equivalent, established in collaboration with the Ecole nationale des arts du cirque (Enacr) in Rosny-sous-Bois, and in connection with the University of Picardie Jules Verne;- a professional integration unit for students, which includes a group graduation show and personal help on individual student projects;- continuing education for artists and technicians in the performing arts sectors, teacher training and preparation for the State teaching diploma in the circus arts.A centrer for documentation, study and research into teaching which includes the following:- a workshop for building apparatus prototypes and for researching new materials,- a documentary resource center in association with the French National Library (BNF), open to the public (professionals, students and researchers), - an audio-visual unit.These two centers confirm the Cnac’s position as a place of research and innovation in terms of artistic creation, teaching, reflection on movement and the body, and health and safety.
Alexandre Fournier et Mathias Pilet, Nos LimitesNos limites is the story of life’s instincts and tells of the ability to bounce back, to grasp our bodies and our will and to reach beyond our memories, seizing them to make them more vivid.Under the choreographer’s knowing eye, two young performers evoke absence, with discretion and delicacy but also with incredible energy, in their acrobatic lifts intermingled with floor work.The core of this proposal is both moving and energetic, resulting in a blend between the acrobatics of the two circus performers and the choreographic eye of Radhouane El Meddeb.The plan for this show dates back to when Fabrice Champion (formerly with the Arts Sauts) created it with Matias Pilet and Alexandre Fournier, two student circus artists from the Académie Fratellini.Fabrice Champion, a former trapeze artist with the Arts Sauts Company, taught at ENACR and was artistic director at the Académie Fratellini, where he met Mathias Pilet and Alexandre Fournier, two particularly talented artists whom he became very close to. From that friendship he felt a desire to come back on the scene, in spite of his disability, and to work with them to create a show full of acrobatic feats.After the death of Fabrice Champion in late 2011 during a trip abroad, Matias Pilet and Alexandre Fournier continued to rehearse. By the smallest, or perhaps the greatest of coincidences, the choreographer Radhouane El Meddeb, an associate artist at the CENTQUATRE, attended one of them.From this first meeting, all three felt the need to continue with the project, Radhouane El Meddeb took over the show and began by giving them the benefit of his contemporary choreographic design.Mathias PiletMatias began acrobatics and theatre work in his teens, and went on to attend the local Circus School in Champfleury in Avignon, where he twice won the “Amoureux de la scène” prize at the “Chien qui fume” (a spring board for young artistes). He then attended the École Nationale des Arts du Cirque in Rosny-sous-Bois (ENACR), where he specialised in “hand to hand”. He began working on acrobatic and dance lifts with Alexandre Fournier. It was at this time that they met Fabrice Champion with whom they started a project together.Mathias has also taken part in a variety of projects including dancing in video clips and for an NTM concert at the Parc des Princes in 2010.Alexandre FournierOriginally from New Caledonia, Alexandre arrived in France at the age of 17. He began by attending a preparatory school at the Lomme Circus Arts Centre near Lille, then the Cannes preparatory school, Piste d'Azur, the École Nationale des Arts du Cirque de Rosny-sous-Bois (ENACR), and then the Académie Fratellini. After starting out as a juggler, Alexandre became a lifter and floor acrobat at the ENACR, when he met Mathias.Radhouane El Meddeb is a CENQUATRE (Paris) associated artist since 2011He is a dancer and choreographer based in France. He created his first autobiographic solo Pour en finir avec MOI in 2005. Other works include among others: Hûwà, Ce lui (2006) for Montpellier Dance Festival; Quelqu’un va danser (2008) for Les Rencontres Chorégraphiques Internationales de Seine-Saint-Denis ; Je danse et je vous en donne à bouffer (2008, Centre National de la Danse CND, Pantin), a culinary and dance performance; and Ce que nous sommes (2010, CND), his first group performance. In 2011, following an initial phase at Babel Theatre (Beirut), El Meddeb created Chant d'amour (Collectif 12), a duo based on works by Jean Genet (Notre Dame des Fleurs and Chant d'amour). He also created A L'Etroit (2011, CENQUATRE) following an invitation from writer Philippe Adam and the Concordan(s)e festival ; and Tunis le 14 janvier 2011 for Meeting Point 6 (2011). In 2012 he choreographedNos Limites, a duo for two circus performers (CENQUATRE).
Margarita Korzoun Minsk Street Theatre Forum Biélorussie Site web
Victoria Wang National Taichung Theater, Taiwan Taïwan
Lotta Vaulo CircusInfo Finland Finlande Site web
Gary Farmer City of Miami Beach États-Unis Site web
Rachel Clare Crying Out Loud Royaume-Uni Site web
Sami Ylisaari Cirko - Center for New Circus Finlande Site web
Anouk Aspisi Institut français d'Italie Italie Site web
Vladimir Galak Festival des théâtres de rue de Minsk Biélorussie Site web
Dong Hee CHO Seoul Foundation for Arts & Culture Corée du Sud Site web
Cantù Paolo Teatro Franco Parenti Italie Site web
FRANCESCO UNGARO Cantieri Teatrali Koreja Italie Site web
Gail KELLY Australian Circus and Physical Theatre Association Australie Site web
Susanne Theis Discovery Green Conservancy États-Unis Site web
Lanfranco Cis Festival Oriente Occidente Italie Site web
Corrado Russo viagrande studios Italie Site web
Hiromi Ozaki OWLSPOT theatre Japon
Natalia Sultanova Zavod Bufeto Klovnbuf festival Slovénie Site web
Norman Armour PuSh International Performing Arts Festival Canada Site web
khalid tamer Collectif Eclats de Lune Maroc Site web
FABRIZIO GAVOSTO FESTIVAL MIRABILIA Italie Site web
Ramona Mihaela Hristea Festival International de Theatre Sibiu Roumanie Site web
John Ellingsworth Sideshow Royaume-Uni Site web
Kim Cook Arts Council of New Orleans États-Unis
Riku LIEVONEN Helsinki Festival Finlande Site web
Sarka Marsikova CIRQUEON and Cirkopolis festival République tchèque Site web
Laísa Bragança de Moura SESC Palladium Brésil Site web
Ivan Kralj Festival novog cirkusa Croatie Site web
Gerardo GRIECO teatro Solís Uruguay Site web
Gabriela Ricardes Buenos Aires Polo Circo Argentine Site web
Michiko Tanaka Circus-do "Les Funambules" Japon
María Folguera Teatro Circo Price Espagne Site web
Zsuzsi Nagy Trafó - House of Contemporary Arts Hongrie Site web
KENG SEN ONG Singapore International Festival of Arts Singapour Site web
Fai Cheung feverchina Chine
Laurence GALLI Alliance Française Colombie
Sverre Waage Cirkus Xanti - Circus Village Norvège Site web
Sven Till fabrik Potsdam / Potsdamer Tanztage Allemagne Site web
Sergio Perim Faria Junior Cirque Brésil Site web
Cristiane Oliveira Sesc MG Brésil Site web
Monique MARTIN City Parks Foundation/SummerStage États-Unis Site web