Malandain Ballet Biarritz’s Miyuki Kanei and Daniel Vizcayo in Thierry Malandain’s “Noé” (Noah). Photo copyright Olivier-Houeix and courtesy Maison de la Danse.
par Anne-Charlotte Schoepfer
Copyright 2019 Anne-Charlotte Schoepfer
(English version follows. Today’s online publication of the complete review, in English and French, is sponsored by Freespace Dance. See Freespace Dance perform and then party with the company February 23 at the Space at Yoga Mechanics in Montclair, New Jersey, lovely this time of year. More info here. To find out about sponsorship opportunities with the Dance Insider, the leading voice for dancers since 1998, contact publisher Paul Ben-Itzak at email@example.com .)
LYON — Les vingt danseurs du Malandain Ballet Biarritz provoquent un déluge à la Maison de la Danse avec leur nouvelle pièce “Noé,” vu le 26 decembre. Thierry Malandain, figure de la danse néo-classique en France, s’est souvent approprié des grands classiques de la littérature pour ses pièces. Les plus récentes étant “La belle et la bête” en 2016, “Cendrillon” en 2013 ou encore “Roméo et Juliette” en 2010. Avec “Noé,”(Noah) il relève le défi encore une fois et il réussit à faire d’un mythe religieux un puissant un ballet moderne plein d’humanité.
La pièce, qui dure 1h10, est plus abstraite que les dernières adaptations dans le sens ou elle est moins racontée et collee a l’histoire. La narration est moins présente, ce qui permet de moins diriger le spectateur et de plus le laisser vaquer à son imagination. Pour illustrer le déluge, un grand rideau de perles turquoises entoure une scène entièrement bleue. Ce décor simple et efficace crée par Jorge Gallardo met les corps en valeur.
Et quels corps… La technique des danseurs de la compagnie est précise et poignante. Il y a bien des tableaux dans l’écriture du spectacle mais les chorégraphies s’enchainent dans un rythme effréné, on est totalement emportés par les mouvements. L’écriture chorégraphique est précise et saisissante : les corps s’entremêlent dans des pas de deux renversants et ils traversent l’espace avec une force fulgurante. Le style est dans la continuité du travail du chorégraphe : une base classique forte et une réinterprétation des mouvements plus moderne. Il utilise par exemple des techniques de sol très contemporaines. Les changements de formation sont vifs et pointus. Le génie de Thierry Malandain se trouve dans sa gestion de l’espace scénique.
L’inspiration pour l’interprétation des danseurs a de multiples facettes : tantôt puissante et bestiale pour illustrer les espèces animales présentes dans le bateau, tantôt légère et poétique avec par exemple l’amour d’Adam et Eve.
Tout le ballet est chorégraphié sur la musique de Rossini “Messa Di Gloria.” Ce qui rend les corps encore plus présents lorsqu’ils se mêlent aux voix puissantes de l’œuvre liturgique.
J’ai vraiment apprécié, pour une compagnie néoclassique, que tous les danseurs soient mis en valeur équitablement dans un esprit de groupe et de communion. Il y a bien sûr une hiérarchie au sein de l’histoire comme avec les deux rôles principaux : Noé interprété par Mickaël Conte et Emzara interprétée par Irma Hoffren. Mais ces derniers ne prennent pas toute la place dans l’histoire. Les autres interprètes sont aussi importants et les ensembles avec les vingt danseurs réunis restent les moments les plus émouvants de la pièce.
Je pense que c’est par ces détails que Thierry Malandain réussit à moderniser la technique classique et à adapter une telle œuvre aujourd’hui. On est loin du cliché religieux et on est totalement saisi par la dimension humaniste et
universelle de l’histoire.
Malandain Ballet Biarritz’s Hugo Layer and Claire Lonchampt in Thierry Malandain’s “Noé” (Noah). Photo copyright Olivier-Houeix and courtesy Maison de la Danse.
By Anne-Charlotte Schoepfer
Copyright 2019 Anne-Charlotte Schoepfer
LYON — The 20 dancers of Malandain Ballet Biarritz provoked a veritable deluge at the Maison de la Danse with their new piece “Noé” (Noah), seen December 26. Thierry Malandain, a fixture of the French neo-classical dance scene, has frequently appropriated the major classics of literature for his work, most recently the 2016 “Beauty and the Beast,” the 2013 “Cinderella” and the 2010 “Romeo and Juliette.” With “Noé,” Malandain is once more up to the challenge, succeeding in weaving a religious myth into a powerful ballet full of humanity.
The dance, which clocks in at just 70 minutes, is more abstract than Malandain’s previous adaptations in the sense that the choreography is more or less simply sketched out and pasted on to the history. The narrative element is less present, which enables the spectator to feel less manipulated and let the imagination take off. To illustrate the flood, for example, a grand curtain of turquoise pearls surrounds an entirely blue stage. This simple and efficient scenery, created by Jorge Gallardo, highlights the bodies.
And what bodies! The dancers’ technique is precise and poignant. The composition of the show certainly includes fixed tableaux but the choreography flies by so swiftly, with one gesture shifting into the next, that we’re swept away by the movement. The choreographic composition is precise and gripping: the bodies intermingle in jaw-dropping pas des deux and traverse the space with lightning force. The style is in the continuity of the choreographer’s usual approach, built on a strong classical base and a reinterpretation of more modern movement, for example by tapping into contemporary floor techniques. The changing of space is sharp and shrill. Thierry Malandin’s genius finds itself in the way he manages the stage space.
The inspired interpretation of the dancers reveals many facets: at times powerful and animal — for instance when it comes to depicting the animals present on the ark — at others light and poetic, as in the portrayals of the love between Adam and Eve.
The entire ballet is set to Rossini’s “Messa Di Gloria,” rending the bodies that much more present when they mix it up with the powerful voices delivering the liturgical oeuvre.
I really appreciated seeing a neo-classical company in which all the dancers were equitably put on the same plane in an ensemble spirit of communion, harkening the spirit of Balanchine’s New York City Ballet. There’s certainly a hierarchy when it comes to the narrative, as with the two principal roles: Noah interpreted by Mickaël Conte and Emzara by Irma Hoffren. But these last don’t take up all the space in the story. The other dancers are equally important and the ensemble sections, with 20 dancers reunited on the stage, remain the most moving moments of the dance.
It’s with details like this that Thierry Malandain has succeeded in modernizing the classical technique and in adapting such a substantial oeuvre today. We’re a long way from the religious cliché and completely gripped by the humanist and universal dimensions of the story.
— Translated by Paul Ben-Itzak, with Anne-Charlotte Schoepfer
By Maura Nguyen Donohue
Copyright 2000, 2018 Maura Nguyen Donohue
(First published on the DI on August 4, 2000, this Flash Dispatch’s re-publication today is sponsored by Slippery Rock Dance . )
HANOI — Chao cac anh chi from Hanoi. I’ve been situated in the seat of a former enemy (to both of my half-selves, American and Vietnamese) for almost two weeks now. After only ten days in Southern China we decided to head to the capital of Vietnam so as to squeeze in a few days of language lessons. Unfortunately, Perry only seems to retain sentences that involve beer. This should make our impending visit with my mother’s family in Central Vietnam and our — ahem — wedding there interesting.
With its many lakes, shady boulevards and parks Hanoi is a more physically attractive city than Saigon. The maze of the charming 1000-year-old Old Quarter provides endless exposure to a rich cultural heritage. However, I have to admit to a heavy amount of apathy in my pursuit of contemporary performance here other than Quyen Van Minh’s Jazz Band (mostly Tom Petty and Nirvana covers). Art galleries abound but performances are harder to find. And my southern Vietnamese and American roots reveal themselves incessantly. The righteous rhetoric gets tiresome and I’ve been biased by a wonderful experience seeing work and talking to artists in the south three years ago about the challenges to artistry in a Communist country. Though people tell me today that things are better than five years ago, I must note that “better” is a relative term. That stated I was still able to enjoy yet another viewing of water puppets as well as a trip to the Central Circus and an unexpected audience for the ritual of an indigenous sect.
Based at the shore of Hoan Kiem Lake is the Municipal Water Puppet Theater (Roi Nuoc Thang Long). At 40,000 dong for a first-class seat, I was able to see this troupe for 1/16 the price I paid to see them at Lincoln Center a few years ago. Water puppetry is one of the few indigenous art forms in a country that spent 1,000 years under Chinese rule, 50 under the French and another 10 dealing with the Americans. It originated among the rice farmers, who carve the puppets from waterproof fig tree lumber. The characters were modeled on the villagers, animals from their daily lives and creatures of myth and legend. 11 puppeteers operate from behind a bamboo screen in waist-deep murky water. The murk of the water conceals some of the mechanics, and allows the puppets to appear and disappear with ease. Many of the puppets have articulated limbs and heads. The series of vignettes depict pastoral scenes and legends. The show includes live music, and I was particularly pleased to hear Ru Con Nam Bo played live. I use this lullaby, played on the Vietnamese monochord, dan bau, in a work about abandoned Amerasian children, “SKINning the surFACE.”
Hanoi’s old-school circus (Xem Xiec) provided an intriguing evening. Many of the performers were trained in Eastern Europe. The relatively simple acrobatics (compared to those of neighboring China) were entertaining, but I thought I was having hallucinogenic flashbacks when the elephant started doing yoga and the monkeys riding bicycles in running shorts.
The most interesting performance I’ve seen (other than the ballets of ‘no-road-rules-traffic’ and ‘street-peddling-women-running-from-the-police-with-60-lbs-of-fruit/tea/soup /etc-in-their-baskets’) was when we accidentally stumbled into a temple ritual on our first day in town. Thanks to a side door and Perry’s newly acquired 80-cent flute, we were invited in to witness a Hoa Hao ceremony. Perry joined the musicians while sister Maeve, Dragon (an auspiciously named Yugoslavian we met at the border crossing from China) and I watched a middle-aged woman dance with incense, fire and bells for the next three hours. She worked her way through at least ten costume changes. With each new outfit came a new story told through movement and props. At one point, she was steering a boat; at another she was a woman selling towels from the bags dangling at either end of her pole. The vignettes each included a bouncing dance that seemed to represent travel and walking. In between each dance there would be a formal walk towards the altar before she’d drop to her knees and bless various gifts. These gifts (cigarettes, raincoats, fruit, cookies, noodles, money, facecloths, etc) were then distributed to the temple and to everyone in attendance. The ironic twist though is that Hoa Hao was started as a reformed Buddhism that embodied personal faith rather than elaborate ritual. Perhaps this is progress, perhaps prosperity. Regardless, they were wonderful people and we’ve since been to two of their homes for dinner. Between leaving the ceremony with bags full of goodies and being overstuffed at their homes, I’m amazed at the generosity of some in a country where the average monthly income is $50. I thought WE were supposed to be the haves giving to the have-nots!
For more information on choreographer-dancer Maura Nguyen Donohue, visit her dance company’s web site.
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From the Arts Voyager Archives: Ruth Asawa, “Umakichi,” 1965. Printed by Jurgen Fischer. Lithograph. © 1965 Ruth Asawa. Amon Carter Museum of American Art, Fort Worth, Texas. 1965.196. Umakichi was Ruth Asawa’s father. First published on the Arts Voyager in 2012 and republished today in memory of Bill Clark, father, godfather, and friend of Ruth Asawa. Join the Dance Insider/Arts Voyager mailing list today and receive the complete story, with more art by Ruth Asawa, for free. Just e-mail email@example.com.