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coaching project z Simone Aughterlony

Marzec 21, 2010
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W ramach otrzymanego stypendium na udział w Alternatywnej Akademii Tańca w Poznaniu od najbliższego poniedziałku będę miała okazję spotkać i popracować z Simone Aughterlony, ex-tancerkę Meg Stuart! Jestem bardzo ciekawa tego spotkania…

Simone Aughterlony, urodzona w 1977, w roku 1995 ukończyła Szkołę Tańca w Nowej Zelandii. Później przeniosła się do Europy, gdzie współpracowała z wieloma artystami zarówno jako tancerka, autorka konceptu do spektakli, jak i choreograf. W 2000 dołączyła do zespołu Meg Stuart Damaged Goods i współtworzyła m.in. takie spektakle jak ‘Highway 01’ czy ‘Alibi’. Pracowała nad choreografią produkcji teatralnych w Schauspielhaus Zürich, Volksbühne Berlin i Burg Theatre Wien, pod dyrekcją Falka Richtera, Stephana Puchera oraz Niklausa Helblinga. Projektami autorskimi Simone zajęła się po raz pierwszy w 2003, tworząc swoje premierowe solo “Public Property”. Kolejne jej prace “Performers on Trial” oraz projekt grupowy “Bare Back Lying” były wystawiane na wielu europejskich scenach. Artystka ma na swoim koncie również współpracę z artystką video Meiką Dresenkamp, z którą współtworzyła pracę “Between Amateurs” w 2006. Na zaproszenie teatru SPIELART Münich wzięła udział w produkcji duetu “TONIC”, który w listopadzie 2007 prezentowany był w ramach “What’s Next?” (rekomendacja Tima Etchellsa). Spektakl grupowy “The Best and the Worst of Us”, który miał swoją premierę w lutym 2008, do dziś gości na deskach europejskich teatrów, podobnie jak najnowsza praca “Sweet dreams are made”, stworzona we współpracy z Isabelle Schad. W swoich pracach Simone zgłębia związek pomiędzy przeżytym doświadczeniem i jego uzewnętrznianiem w postaci różnego rodzaju (re)prezentacji. Badanie tego związku nadaje jej pracom często charakter drobiazgowych katalogów, w których tancerze niewyczerpanie odkrywają i testują coraz to nowe granice zarówno swoich myśli jak i ruchu. Artystka skupia się na tym, co w doświadczeniu jest szczególnie komiczne lub też szczególnie tragiczne. Stara się w ten sposób przedrzeć do pokładów autentyczności, które otwierają przed widzem tancerze transformując treści i koncepcje zawarte w dziele we wspólną przestrzeń.

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GOOD NEWS!

Styczeń 29, 2010
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Zostałam stypendystką programu Narodowego Centrum Kultury i MKiDN „Młoda Polska”!

Oznacza to, że  spektakl B.R.E.A.K. o polskim bboyingu, a dokładnie o białastockich bboyach będzie realizowany. Premiera w grudniu 2010!

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I got scholarship of National Centre of Culture and Ministry of Culture „Young Poland”!

It means that performance B.R.E.A.K. about polish bboying, more precisly – about bboys from Bialystok will happen. Premiere in December 2010!

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zima na zdjęciach

Styczeń 29, 2010
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fot. Renata Piotrowska

Jest pewien urok tych „brudnych” i spontanicznych zdjęć robionych telefonem komórkowym. Szczególnie zimą. Przypadkowość w mroźne dni…

There is some charm of „dirty” and spontanieus photos made with a mobile. Specially in winter. Chance in a cold days…

fot. Renata Piotrowska

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warsztat z kontakt improwizacji / CI workshop

Styczeń 29, 2010
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Już niedługo kolejny warsztat. Zapraszam!

Bardzo się cieszę na spotkanie z Wami wszystkimi :)! W razie pytań piszcie do mnie.

Poniżej szczegóły:

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Soon another workshop. Welcome! I’m very happy for a meeting :)! Any questions? Write to me.

Details below:

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Nie zatrzymuj się!

27-28 lutego 2010

Warszawa

Kontakt improwizacja to nieustanny ruch. Może on być mniejszy lub większy, ale zawsze jest. Jest to jeden z podstawowych elementów tej metody, punkt wyjścia do słuchania partnera, bycia w kontakcie oraz przemieszczania ciężaru i podnoszeń.

Opierając się na moich obecnych doświadczeniach i zainteresowaniach związanych z kontakt improwizacją chciałabym skupić się podczas warsztatu na pracy nad ciągłością ruchu. Które części ciała muszę zaktywizować, aby łatwiej mi było zachować ciągłość ruchu? Jak zachować ciągłość ruchu będąc w kontakcie z partnerem? W jaki sposób ciągłość ruchu otwiera nowe możliwości w tańcu?

Warszat jest przeznaczony zarówno dla osób początkujących jak i zaawansowanych w kontakt improwizacji. Każdy znajdzie coś dla siebie.

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Don’t stop!

27th – 28th of February 2010

Warsaw

Contact Improvisation it is a continuous movement. It can be more or less visible, but it does exist always. It is one of the basic issues in the method – starting point to listening the partner, being in contact, shifting the weight and lifting. 

Inspired by my experience and actual interest in contact improvisation I would like to focus on continuity of movement during my class. Which parts of the body I need to activate in order to keep easily continuity of movement? How to keep continuity while being in contact with partner? How does continuity of movement open up New possibilities in dance?

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kilka słów o Benoit Lachambre / few words about Benoit Lachambre

Styczeń 29, 2010
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I just appreciate him as an artists…That’s why I put some infos about him.

Throughout every work in par b.l.eux’s repertory, where elements of the visual and performance arts are inseparable from dance, Benoît Lachambre explores the dynamics of communication and perception. A laboratory for research and exploration that brings together artists from all horizons and disciplines, par b.l.eux ¯ “b.l.” for Benoît Lachambre, and “eux” for the others, his collaborators ¯, has seen its influence grow through the company’s willingness to foster exchange and collaboration with other artists, both nationally and internationally.

The company

Founded in 1996 by its artistic director, choreographer Benoît Lachambre, par b.l.eux is a company dedicated to research and creation in dance.

par b.l.eux’s efforts to foster exchange across cultures and across disciplines make it possible for the company to propose its works to an extensive international network.

par b.l.eux is committed to working with the community to ensure that emerging talent will have the resources and environment that it needs to grow.

Benoit

In 1996, Benoît Lachambre created his company out of a need for a platform that would provide structure for the realization of his research projects and the development of a new creative process. Thus was born Par B.L.eux : “B.L.” for Benoît Lachambre, and “eux” for “them,” the creative artists with whom he collaborates. The company is devoted to contemporary and interdisciplinary choreographic creation, and the close connection to an international network of artists.

Benoît Lachambre continues to multiply his artistic encounters through his experiences as choreographer, improviser and teacher. His dance is based on the evolution of a proliferation of ideas, of dynamic exchanges made up of the coming together of various artistic processes and concepts. He is present on the international scene due to his tireless work on multiple projects at the same time. Benoît is comfortable passing from metaphor to theory to diverse practices. He transforms eclecticism into a multiplication of complementary activities. He seeks to incorporate the dynamics of communication and perception in his process.

Bringing elements of improvisation and performance to dance, Benoît immerses himself in a deep exploration of the awakening of the senses. He collaborates regularly with artists from a range of horizons, from diverse artistic disciplines. He is part of many projects, working with such choreographers as Lynda Gaudreau, Felix Ruckert, Catherine Contour, Boris Charmatz, Sasha Waltz, and Isabelle Schad, as well as visual artist Laurent Goldring. With Meg Stuart (her company, Damaged Goods, is based in Brussels) and Hahn Rowe, he created FORGERIES, LOVE AND OTHER MATTERS, hailed as one of the 9 most remarkable works of the 2004-2005 season in Flanders and the Netherlands. In September 2006, following the presentation of the piece in New York City, Benoît and Hahn Rowe received the prestigious Bessie Award.

In March 2005, Lachambre was guest presenter at TanzQuartier, where he initiated and coordinated the event “North South Lab” which brought together artists, theorists and activists from the four continents. Inside this program, with help from his colleague Livia Daza-Paris, he included a forum for discussion, reading and presentation baptized “The World Café.”

Since the creation of his company, it has seen 15 new creations. By boosting his efforts to collaborate on other projects, Benoît has been part of more than twenty productions outside Par B.L. eux; he has received 25 requests for commissions, including the solo I is memory or Louise Lecavalier, which premiered in Switzerland in May 2006. He also created a solo for Marion Ballester entitled Les portes heure de paroles, which had its premiere at the Festival des Antipodes at Le Quartz, Scène Nationale de Brest, where he was named “associate. He also created a solo for Marion Ballester entitled Les portes heure de paroles, which had its premiere at the Festival des Antipodes at Le Quartz, Scène Nationale de Brest, where he was named “associate choreographer” from 2005 to 2008.

The trio FORGERIES, LOVE AND OTHER MATTERS co-created with Meg Stuart and Hahn Rowe has been performed more than 90 times since it premiered in April 2004. His group piece Lugares Comunes has been presented in Brest, Essen, Brussels, Berlin, Montpellier, at the Théâtre de la Ville de Paris and at the Usine C in Montreal.

In May 2008, along with Louise Lecavalier, Hahn Rowe and Laurent Goldring, Benoît Lachambre presented the première of the work Is you me at the Festival Trans-Amériques in Montreal. This creation followed the première in March 2008 at Brest’s Festival des Antipodes of Body Scan, Lachambre’s latest group piece. The group work is programmed in March 2009 at the Centre Georges Pompidou in Paris, The group work is programmed in March 2009 at the Centre Georges Pompidou in Paris, and during the Festival Trans-Amériques in Montreal in May that same year.

Lachambre recently worked on a stage adaptation of Jean Genet’s Le condamné à mort for the actor Jean-François Blanchard, presented at the Festival Next in Valentiennes, France. Benoît is also currently working on the development of a duo entitled ~~~~eau oui~~~~ for dancer Annik Hamel and actress Céline Bonnier.

Par B.L.eux has presented its works in some ten countries around the world, essentially in Europe but also in the Americas and in Asia. In all, Par B.L.eux can count more than 200 performances of its pieces. For this, Benoît Lachambre has received the Jacqueline Lemieux award from the Canada Council (1999) and two Dora Mavor Moores for best performance and best choreography for Délire Défait (2001). best performance and best choreography for Délire Défait (2001).

His frequent collaborations with Meg Stuart led to his participation, in February 2004, in the filming of Somewhere in Between, from director Pierre Coulibeuf, a film that explores the creative process of the American-born choreographer. This project was the starting point for a partnership between Lachambre and the filmmaker for a film entitled Magnetic Cinema. In 2003, he was one of the two performers featured in the film Cantique no 1 et no 2, directed by Marie Chouinard. This was Benoît’s third experience with the cinema, and his performance won him a Moving Pictures award in Toronto in 2003.

Benoît Lachambre is well-known for the improvisation and body consciousness workshops he has led around the globe. Drawing upon his years of research and vast stage experience, he has developed workshops where dance professionals can explore the complexity of the inner modules of the body and work on identifying their own movement dynamic. He is very much in demand, and these workshops often serve as a springboard for the dissemination of his works. Through these activities, he is able to share his research with the community.

Benoît Lachambre is frequently invited to participate in a

host of conferences, symposiums and artistic forums. His

prominence allows him to be involved at different stages

of the artistic development of an event.

The junction of this last facet of his participation in dance

with the variety of his previous experiences has led him

to consider the foundation of a centre for research, creation

and development in dance and in other related disciplines.

He also hopes to incorporate programs for international exchange, through which the different approaches to

communication can be explored and exchanged to the

benefit of local, regional, provincial, national and

international clienteles.

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