After a forty-year career and more than thirty creations, choreographer Pierre Droulers is publishing a book that looks back over his career and offers new stories. He gives a poetic interpretation of his work and its influences, from American postmodern dance to visual arts and James Joyce. For the festival, he is also designing an installation that reveals the materials and principles used when the book was being put together. Photographs, words, recordings and objects are spread out over some thirty tables: like dissection tables for the anatomy of a work. Visitors can put together the fragments as they wish. On Sunday 14 May guest artists – Droulers’ collaborators from yesterday and the future – will bring the installation to life. The book unfolds in space and time. A work brought (back) into play!
DIMANCHE - INSTALLATION
Concept & direction
Kunstenfestivaldesarts, Charleroi Danses, Droulers Productions
SUNDAY. PIERRE DROULERS CHORÉGRAPHE.
Director of publication
With contributions by
Jean-Marc Adolphe, Fabienne Aucant, Tarquin Billiet, Malika Djardi, Michel François, Yves-Noël Genod, Yves Godin, Manon Greiner, Harold Henning, François Hiffler, Ann Veronica Janssens, Denise Luccioni, Barbara Manzetti, Denis Mariotte, Pascale Murtin, Kazuya Sato, Eugène Savitzkaya & Hans Theys
Fonds Mercator & Charleroi Danses
LES BEAUX JOURS
Kunstenfestivaldesarts, Charleroi Danses, Droulers Productions
Kunstenfestivaldesarts, Charleroi Danses & Droulers Productions
Also on the bill: performances & artistic interventions by
Daniel Linehan, Laure Prouvost & Alain Franco
After a forty-year career and more than thirty creations, choreographer Pierre Droulers is publishing a book that looks back over his career and offers new stories. He gives a poetic interpretation of his work and its influences, from American postmodern dance to visual arts and James Joyce.
For the festival, he is also designing an installation that reveals the materials and principles used when the book was being put together. Photographs, words, recordings and objects are spread out over some thirty tables: like dissection tables for the anatomy of a work. Visitors can put together the fragments as they wish.
On Sunday 14 May guest artists – Droulers’ collaborators from yesterday and the future – will bring the installation to life. With Pierre Droulers, Malika Djardi, Alain Franco, Daniel Linehan, Laure Prouvost. The book unfolds in space and time. A work brought (back) into play!
Dimanche involves spending an afternoon together, reuniting audiences and friends.
Dimanche presents an installation of twenty-five tables featuring forty years’ work and the publication of the book Sunday. PierreDroulers chorégraphe.
Dimanche presents some “impromptus / surprises” during the day, created by artist friends and guided by their feelings in situ.
Dimanche is a celebration from start to end in that people can take their time quite simply to be; light meals and drinks are available.
Programme and schedule (for guidance purpose only)
12:00 Alain Franco
13:00 Laure Prouvost
14:00 Daniel Linehan
14:00 Les Beaux Jours by Pierre Droulers with Malika Djardi & Katrien Vandergooten
15:00 Les Beaux Jours by Pierre Droulers with Malika Djardi & Katrien Vandergooten
16:00 Laure Prouvost
17:00 Daniel Linehan
18:00 Alain Franco
19:00 Les Beaux Jours by Pierre Droulers with Malika Djardi & Katrien Vandergooten
20:00 Laure Prouvost
21:00 Daniel Linehan
22:00 Alain Franco (and others)
After spending three years studying at Mudra, a multidisciplinary school set up in Brussels by Maurice Béjart, Pierre Droulers continued his training, travelling to Poland and working with Jerzy Grotowski and attending workshops in Paris run by Robert Wilson. On a trip to New York he came across the work of the Judson Church in 1978, and he was lured back to dance after seeing Steve Paxton in St Mark’s Church, creating a solo in Brussels with the saxophonist and composer Steve Lacy (Hedges, 1979). After working on various projects as a choreographer (Tao, with Sheryl Sutton, 1980; Tips with the future Grand Magasin, 1982; Pieces for Nothing with Minimal Compact, 1983; Miserere with Winston Tong and Sussan Deyhim, 1985; Remains with Steve Lacy, 1991) and as a performer (for the likes of Anne Teresa De Keersmaeker and Michèle Anne De Mey from 1986 to 1989), he created a diptych based on James Joyce’s Finnegan’s Wake using a variety of styles in his shows: acted, danced, spoken and “musicalised” (Comme si on était leurs Petits Poucets, 1991 and Jamais de l’Abîme, 1993). In 1995, with Michel François, he subjected objects to certain rules in the piece Mountain/Fountain. This creation launched a new cycle in which the question of form encouraged abstraction and disposed of theatricality. He continued his collaboration on dreams about materials with the visual artist Ann Veronica Janssens in his next piece de l’air et du vent, 1996. He alternated between small and large forms, feeling a need to be closer to the performer. Petites Formes in 1997 invited four performers – Stefan Dreher, Thomas Hauert, Tijen Lawton and Celia Hope-Simpson – to come up with a small form in parallel with the one Pierre Droulers was creating for them. Multum in Parvo, performed at the Kunstenfestivaldesarts in 1998, questioned the collective in an invitation to 26 dancers. In 2000, Pierre Droulers staged MA at the Festival d’Automne with Michel François, Ann Veronica Janssens and Yuji Oshima, an exploration of an urban stroll through contemporary city architecture. In 2001, he returned to the stage with Sames, a duet with Stefan Dreher, around the question of the double, the same and the different. Around the same time Pierre Droulers opened a venue in Marseille, the Bird Studio, a place of artists’ residences and north/ south migrations on the site of Cap 15 and home to various artists’ studios. In 2003, he programmed a Carte Blanche at La Balsamine in Brussels. Involving several venues, moments and artists (vélos and Scrub Color II by Ann Veronica Janssens; Alu by Michel François; La maison by Jan Hoet de Koen Theys), this all-in-one event offers an itinerary, a link between dance, visual arts and sound, reviving the small form (Parades) and group composition/improvisation (Appartement). He created Inouï in 2004, which has gone on to be performed in Belgium, France and Germany. In 2005, he took part in the Agora project in the middle of the Parc Royal in Brussels during the Kunstenfestivaldesarts, which saw him team up again with visual artist Simon Siegmann, composer George van Dam and writer Jean-Michel Espitallier. Appointed artistic co-director and then associate artist at the Charleroi Danses Choreographic Centre from 2005 to 2016, he developed two programmes at La Raffinerie: the multidisciplinary Compil d’Avril festival and DANSEUR, which focuses on the performer. During this period, his creations have explored the most intimate and subterranean paths. Flowers, a piece for eight dancers, presents research on desire. In 2007, he received a commission from the Ballet de l’Opéra de Lyon, which led to the creation of All in All. In Walk Talk Chalk in 2009 he tackled themes of failure and collapse. In 2010, he revived the piece de l’air et du vent, presented notably at the Théâtre de la Cité Internationale de Paris and in 2013, with a group of nine young dancers, he created Soleils, playing with light and shade and with carnivalesque rituals. To mark the end of his time at Charleroi Danses and to celebrate forty years of his work, in 2016 the choreographer revisited his career in an original way and from a variety angles with the book Sunday. Pierre Droulers chorégraphe, published by Charleroi Danses and Fonds Mercator, followed by an installation during the Kunstenfestivaldesarts in 2017.Back to top