Boris Charmatz & Dimitri Chamblas
Dance After Choreography: The French Aftershock
France was first exposed to the work of the Judson Dance Theater in 1973, when Trisha Brown, Simone Forti, and other ???representatives of postmodern dance in America,??? according to LE MONDE, were invited to perform at the Festival d??™Automne in Paris. This event inspired scores of young French dancers to travel to New York and London for training, resulting in a wave of highly conceptual choreography emerging from France in the 1990s. Two films showing the Judson influence are featured in this program.
BORIS CHARMATZ & DIMITRI CHAMBLAS, Les Disparates
(1994, 22 minutes)
In 1993, Charmatz and Chamblas became the teenage sensations of French dance with A Bras le Corps
, a confrontational duet of thrilling physicality. Shortly thereafter, the two choreographers collaborated on this film, a delightful, beautifully shot exploration of the possibilities for fragmenting dance through editing, from bar to boathouse and back again.
JEROME BEL, Veronique Doisneau
(2004, 32 minutes)
Never a star, rarely a soloist, Paris Opera Ballet dancer Veronique Doisneau, age 41, is about to retire after a career of dancing in the background as a corps de ballet member. On the final night of her career, she is at long last alone onstage, in front of a huge audience. With a humorous and moving mixture of spoken text and physical demonstration, Doisneau performs her life??™s history as a dancer.
Part of DANCE AFTER CHOREOGRAPHY
Other programs in DANCE AFTER CHOREOGRAPHY:
Nov 13: From Judson to the Present
Nov 18: The French Aftershock
In the early 1960s, a loose coalition of artists, choreographers, and musicians held a series of performances at the Judson Church in Greenwich Village that radically broke with the conventions of concert dance. The so-called ???post-modern??? dances created by the Judson Dance Theater, as the group came to be known, reduced the medium to its most essential elements, discarding drama and expressionism in favor of pedestrian movement, repetitive structures, and improvisation, and rejecting the notion of the artist/performer as virtuoso in favor of ???democratic??? dance. The concepts behind their groundbreaking performances had much to do with conversations among minimalist sculptors and musicians at the time, and many visual artists--including Robert Rauschenberg, Claes Oldenburg, and Robert Morris--were active participants in a period that was remarkable for its fluidity between disciplines. DANCE AFTER CHOREOGRAPHY, a film program presented at Anthology as a part of the PERFORMA07 biennial, looks at how the Judson Dance Theater took apart the conceptual underpinnings of ???choreography,??? an intellectual process that greatly affected artists creating body-centric work, and remains pervasive today.
Co-presented by PERFORMA and Anthology Film Archives. Organized by Lana Wilson & Andrew Lampert.