€ 16 / € 13
The Brussels choreographer Louise Vanneste is carefully stretching the notion of choreography. With a lot of feeling for the spectator’s experience, she is developing her own unusual idiom. For her creation atla, Vanneste is pursuing the choreographic research that she began with Thérians, in which literature permeated her movement language. Her reading of Michel Tournier’s Friday, or the Other Island is not intended to stage Robinson’s story. Rather it offers a sensual experience of collected images and mental landscapes. The protagonist’s confrontation with the uninhabited island, the loneliness, Friday or the sun form the situations from which the choreographer and her performers draw a new story. Between installation and performance, Louise Vanneste sketches the lines of a choreographic map. The intimacy of the imagined environment invites the spectator to enter and to stray across the vague boundaries between inner and outer world, real and imagined geography.
After the performance on May 18th, Charleroi danse invites you to a Dbrief session.
Languages: FR / NL
Directed by: Maïté Àlvarez, Leen Van Dommelen
Registration: firstname.lastname@example.org/ 02 412 35 14. Limited capacity.
Organised by: La Raffinerie - Charleroi danse
Concept & choreography: Louise Vanneste
In collaboration with:
Music: Cédric Dambrain
Scenography: Arnaud Gerniers
Textile work: Elise Peroi
Light designer: Arnaud Gerniers, Benjamin van Thiel
Video: Stéphane Broc Outside view Anja Röttgerkamp
Artistic Collaboration: Emmanuelle Nizou
Costumes: Camille Queval
Technical coordinator: Yorrick Detroy
Choreography & dance: Paula Almiron, Anton Dambrain, Amandine Laval, Gabriel Schenker Performance: Elise Peroi, Gwendoline Robin
Production and booking: Alix Sarrade (Alma office)
Administration: Gabriel Nahoum
Thanks to: Camille Louis, Ictus, Studio Thor
Presentation: Kunstenfestivaldesarts, Charleroi danse
Production: Louise Vanneste / Rising Horses and DC&J Création
Coproduction: Kunstenfestivaldesarts, Charleroi danse, les Halles de Schaerbeek, le Théâtre de Liège and Le Gymnase - CDCN Roubaix / Haut de France
In parternship with: La Bellone
With the support of: Fédération Wallonie-Bruxelles, Tax Shelter du Gouvernement Fédéral de Belgique and Inver Tax Shelter
Charleroi danse is committed to producing, presenting and supporting the works of Louise Vanneste for three years from 2017 to 2020
Louise Vanneste / Rising Horses is supported in compagnonnage by Théâtre de Liège (2018-2022)
Louise Vanneste is supported by Grand Studio
What Louise Vanneste choreographs is the entire space. With its vibrations, resonances and projections. It is something other than just directing moving bodies. It is more than that. It is more profound. And open. For spectators of atla, it is played out in a physical wandering by six perfomers, somewhere between a performance and an installation. Rather than being performed front on, a road opens up in the territory of the imagination.
The Belgian choreographer willingly mentions the effect of reading: how imagination is activated by a setting in motion, at the only source of the work of language. Initially, implicit in the title atla, is à travers les aulnes [through the alders]. Alders makes us think of the writer Michel Tournier. Atla? It also refers to an extensive geography of the world. Which takes us to that other masterpiece by the same author: Friday or the Other Island.
After twenty-eight years alone on an island, out of what solar and cosmic sensuality does Robinson weave his extreme experience of a relationship with the world that he needs to recreate? Friday joins him. This human otherness could establish the great return to a civilising option. Or not.
Through Friday, Robinson will end up accepting the call of a different world, will embrace this island.
Atla is not at all a transcription of the novel for the stage. But atla is imbued with resonances of time and terrestrial vibrations, their elementary suggestions, in a whirling of the void and spacings, which allow the dance to deploy its power for philosophical adventure that is nevertheless so close to the gesture.
Text written for Rencontres chorégraphiques internationales de Seine-Saint-Denis 2019
Gérard Mayen holds a Master in Dance Studies from the University of Paris 8, and is a journalist, dance critic and author, publishing in the French specialized media. He is also a practitioner of the Feldenkrais method.Back to top
After training in ballet, Louise Vanneste turned to contemporary dance and joined the dance school P.A.R.T.S., from which she graduated. She was offered a scholarship from the SPES Foundation (Be), allowing her to pursue her career in New York City, including time within the Trisha Brown Dance Company. Since her return to Europe, she has developed a choreographic work, favouring collaborations with artists from disciplines other than dance: Cédric Dambrain and Antoine Chessex for music, Stéphane Broc for video, as well as the visual artists and lighting engineers Arnaud Gerniers & Benjamin van Thiel and the painter Stephan Balleux. Group pieces, solos, video installations, each of Louise Vanneste’s projects are apprehended as a whole, in its complexity, though non-hierarchical mediums. She has created the quartet Gone in a heartbeat in 2015 at Kunstenfestivaldesarts and Therians in June 2017 at Rencontres Chorégraphiques Internationales de Seine-Saint-Denis. This project initiates a research about a cross interest between dance and literature that goes on with Une One foray, an in situ project, and with atla. She is also currently working for a new piece for 2021, Forest, a group performance for outdoor and indoor.Back to top