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Accroche to Decroche: In Rhône-Alpes, Jann Gallois ushers in new phase for contemporary dance

jan gallois by laurent philippe small coverCompagnie Burn Out in Jann Gallois’s “Quintette.” Photo by and copyright Laurent Philippe and courtesy Maison de la Danse.

Par /by Anne-Charlotte Schoepfer
Copyright 2018 Anne-Charlotte Schoepfer

(Published in French and in English, you’ll find the first paragraphs of both versions below. For the complete versions — in both languages — and more photography, subscribers please e-mail . Not already a subscriber? Subscribe with PayPal for just $29.95/year by designating your PayPal payment to, or write us at that address to find out how to subscribe by check. Subscribers get full access to the Dance Insider & Arts Voyager’s 20-year Archive of more than 2000 exclusive reviews by 150 critics of performances and art from five continents, plus the Jill Johnston Letter.)

BRON (Rhône-Alpes), France — “Quintette”, vu le 1er mars, c’est l’histoire de cinq personnes, de cinq êtres humains qui se rapprochent, se décrochent ; s’entendent et se déchirent… Dans cette pièce de 50 minutes présentée à Pôle en Scène (Bron) dans le cadre du festival Sens Dessus Dessous de la Maison de la danse de Lyon, la jeune chorégraphe Jann Gallois a exploré toutes les facettes de l’accrochage et du décrochage par le mouvement. En fait, elle traverse le fait de laisser son égo de côté et de s’entendre ensemble ou alors bien au contraire de se mettre en avant et de tomber dans la dispute et la cacophonie totale. On passe alors par des moments très fluides et très doux à des moments très saccadés dans le corps et très bruyants par la voix….

BRON (Rhône-Alpes), France — “Quintette,” seen March 1, is the story of five people who come together, break apart, sympathize with each other and rend each other asunder. In the 50-minute piece, presented at the Pôle en Scène as part of the Sens Dessus Dessous festival organized by the Maison de la Danse in nearby Lyon, the emerging choreographer Jann Gallois explores every facet of connecting and disconnecting (in French, ‘accrochage’ and ‘décrochage’) with movement. As the dance develops, Gallois explores what happens when one abandons the ego, or, by contrast, elbows everyone else out of the way, leaving the ensemble to collapse into disaccord and complete cacophony. We thus careen between fluid and gentle passages and staccato jumps and starts punctuated with explosive vocal eruptions….