Shihya Peng and Marco Di Nardo in Wang-Ramirez’s “We are Monchichi.” Fred Fouché photograph courtesy Maison de la Danse.
Copyright 2018 Anne-Charlotte Schoepfer
(First paragraph of English version follows first paragraph of French version below.)
LYON (Rhône-Alpes), France — Un propos fort couplé d’une mise en scène douce et enfantine : c’est le pari réussi des chorégraphes Honji Wang et Sébastien Ramirez de la compagnie éponyme. “We are Monchichi” c’est l’histoire de la rencontre entre deux danseurs étrangers, deux nationalités différentes qui doivent cohabiter et où vont se nouer et se dénouer les corps. C’est aussi l’histoire de deux immigrés débarquant en France qui doivent s’habituer aux clichés liés à leur pays d’origine. Cette pièce de 55 minutes, vue à la Maison de la danse le 22 Octobre — et reprise pour le Théâtre de La Ville le 21-25 novembre (Espace Cardin) et le 5-9 mars (aux Abbesses) — est adaptée à un jeune public. D’ailleurs la salle était remplie d’enfants et de familles ce soir-là….
LYON (Rhône-Alpes), France — A complex idea treated with a subtle and child-like direction: Such is the gamble in which the choreographers Honji Wang and Sébastien Ramirez and their eponymous company have emerged triumphant. “We are Monchichi” is the story of an encounter between two dancers foreign to France, two distinct nationalities which must cohabit and which tangle and untangle their bodies over the course of the 55-minute work. It’s also the story of two immigrants disembarked in France who must habituate themselves to the clichés associated with their birth countries. The piece, seen at the Maison de la Danse October 22 — and reprised at the Theatre de la Ville November 21-25 (Espace Cardin) and March 5-9 (Abbesses) — is perfect for a young audience. And indeed, the audience for the performance I caught was packed with children and their families….
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This week exclusively on the Dance Insider e-mail list: Anne-Charlotte Schoepfer writes about the Conservatoire National Supérieur de Musique et de Danse de Lyon’s Maison de la Danse performances of Stéphane Delatre’s “Her Body is a Cage,” excerpts from William Forsythe’s “The Vile Parody of Address,” and (above), conservatory director Davy Brun’s “LAK.” DI subscribers receive the entire review in French and in English, plus art. Not yet a DI subscriber? To subscribe to the DI and access both this new content and 2,000 archived stories by 150 writers covering 20 years of performances and art on five continents, plus five years of the Jill Johnston Letter, for just $39.95/year individuals or $69.95 institutions, just designate your PayPal payment in that amount to email@example.com, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options. Sarah Lowicki photograph courtesy CNSMD.
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Lines Ballet in Alonzo King’s “Sand.” Photo copyright Chris Hardy and courtesy Maison de la Danse.
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Par /by Anne-Charlotte Schoepfer
Copyright 2018 Anne-Charlotte Schoepfer
LYON — Une grande virtuosité, des lignes qui s’allongent à l’infini et une précision sans faille dans les mouvements : tels sont les atouts des douze danseurs de la Compagnie Lines Ballet. Alonzo King, le chorégraphe de la compagnie, réussit à nous transporter dans l’excellence mais oublie de vraiment surprendre la spectatrice que je suis…..
LYON, France — Impeccable virtuosity, lines which stretch out to infinity, faultless precision – such are the trademarks of the 12 dancers of Lines Contemporary Ballet, seen December 14 at the Maison de la Danse. Alonzo King, director and choreographer of the San Francisco-based company, succeeds in transporting us with this excellence, but forgets to really surprise the spectator that I am….
By Jordan Winer
Copyright 2000, 2017 Jordan Winer
SAN FRANCISCO — Two women take turns performing solos on a vast stage bathed in burnt sienna and ocher light. One sits and watches the other with full, rapt attention. As we in the audience watch the smile of the watcher, as well as the serpentine prowling of the soloist, all to the haunting strains of master oud player Hamza El Din, we are exactly where the title of the dance would have us be: Ecstasy. And this is only one part of one of the longer pieces, “Tarab,” the only non-premiere in a mostly satisfying program of Alonzo King’s Lines Contemporary Ballet which opened Friday at Yerba Buena. The crown jewel of “Tarab” is the brilliant Wedding Dance. As El Din played and sang, his sensual reedy voice filling the vast theater as soothingly as bathwater, pairs of women and pairs of men crossed back and forth striking snaky, Egyptian poses that contorted through every joint in their body. It was a pure and wonderful piece, the marriage couple ending the dance in mock fatigue, jostling together in reckless joy.
To receive the complete article, first published on April 9, 2000, subscribers please contact publisher Paul Ben-Itzak at email@example.com. Not a subscriber? Subscribe to the DI for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Contact Paul at email@example.com . Lines Ballet performs Alonzo King’s “Biophony” and “Sand” December 13-22 at the Maison de la Danse in Lyon.