{"id":7048,"date":"2018-10-23T10:56:18","date_gmt":"2018-10-23T08:56:18","guid":{"rendered":"http:\/\/www.metropolis.dk\/?p=7048\/"},"modified":"2018-10-29T12:03:21","modified_gmt":"2018-10-29T11:03:21","slug":"vive-la-danse-1987","status":"publish","type":"post","link":"https:\/\/www.metropolis.dk\/en\/vive-la-danse-1987\/","title":{"rendered":"VIVE LA DANSE! 1987"},"content":{"rendered":"

Festivalen, arrangeret i samarbejde med \u00c5rhus Festuge som led i det dansk-franske kultur\u00e5r, var KITs f\u00f8rste samlede dansefremst\u00f8d. Fem af Frankrigs f\u00f8rende dansekompagnier var inviteret for at vise bredden, kvaliteten og s\u00e6rpr\u00e6get inden for den kunstart, der p\u00e5 mindre en 10 \u00e5r havde gjort Frankrig til Europas f\u00f8rende dansenation.<\/strong><\/p>\n

Jean-Claude Galottta, fransk dans\u2019 dav\u00e6rende ukronede konge, og hans kompagni Emile Dubois satte k\u00e6rligheden og erotikkens forf\u00f8rende trekant p\u00e5 scenen i en lystig blanding af dans, musik og skuespil. Mark Tompkins og hans IDA inviterede publikum med p\u00e5 en multimedierejse ind i det mandlige, kvindelige og menneskelige univers, mens l\u2019Esquisses koreografpar, Jo\u00eblle Bouvier og R\u00e9gis Obadia i en vekslen mellem voldsomme kast og spring og lyriske l\u00f8ft f\u00f8rte os ind i rituel, instinktiv virkelighed. Den helt unge Angelin Preljocaj med en strengt stilistisk, minimalistisk koreografi om arbejdets helte, der ofrer sig for et system, blev af Henning J\u00f8rgensen i Information betegnet som \u201cden mest varierede og strukturelt minimalistiske koreografi, jeg har set\u201d og af Georg Andresen i Aarhus Stiftsidende som \u201cEn \u00e5benbaring\u201d.<\/p>\n

\"\"<\/a>

MARK TOMPKINS (IDA)<\/em><\/p><\/div>\n

 <\/p>\n

Festivalen gav et fremragende modbillede til den amerikansk dominerede g\u00e6stespilsscene i Danmark og var derved en vigtig inspirationskilde for det professionelle dansemilj\u00f8. Den n\u00e5ede dog langtfra n\u00e5ede op p\u00e5 det forventede publikumsantal, hverken den smukke Gasbeholder eller de lige s\u00e5 smukke anmeldelser kunne tiltr\u00e6kke mange andre end dansens \u201ch\u00e5rde kerne\u201d.<\/p>\n

Festivalen gav desuden \u2013 i s\u00e6rdeleshed takket v\u00e6ret dens store gennemslagskraft i medierne \u2013 n\u00e6ring til den standende debat om kultureksport- og import. Den franske dansefestival var jo ogs\u00e5 et konkret resultat af et landskonsekvente og modige kulturpolitik, og man n\u00e6rede det forf\u00e6ngelige h\u00e5b, at den ville medvirke til at overbevise danske politikere, kulturformidlere og sponsorer om, at det kan lade sig g\u00f8re at profilere sit lands kultur med unge
\nnyskabende kunstnere.<\/p>\n

En ny kunstform: Dansevideoen<\/span><\/h5>\n

Vive la danse! var en anledning til at pr\u00e6sentere et omfattende program med den nye kunstform \u2013 dansevideoen \u2013 der blev en \u00f8jen\u00e5bner for danske koreografer i K\u00f8benhavn som i \u00c5rhus. At kameraet var et element p\u00e5 lige fod med dansen, \u00e5bnede nye muligheder, som en r\u00e6kke franske videoaster som Charles Picq og Luc Riolon udviklede virtuost i disse \u00e5r.<\/p>\n

Finansiering og samarbejdspartnere <\/span><\/h5>\n

Festivalen blev st\u00f8ttet af Fonden Danmark-Frankrig, Det franske Udenrigsministeriums l\u2019AFAA Association Fran\u00e7aise d\u2019Action Artistique i samarbejde med Air France og Rh\u00f4ne Poulenc og arrangeret i samarbejde med Institut Fran\u00e7ais og Espace Danse (Jean-Louis Badet), Det Danske Selskab i Frankrig, Albertslundhuset og Filmv\u00e6rkstedet i \u00c5rhus.
\n_________________________________________________<\/p>\n

“For hvad vi har f\u00e5et med disse g\u00e6stespil, er et tv\u00e6rsnit af et dansemilj\u00f8 i rivende udvikling … Vi har f\u00e5et lov til at tage del, mens tingene var p\u00e5 vej \u2013 ikke da de var gravsat og forbi …Ved denne lejlighed har KIT tegnet sig for et initiativ i f\u00f8rste plan \u2013 en \u00e6gte pionerindsats. Skam f\u00e5 dem, der ikke m\u00e5tte forst\u00e5 at s\u00e6tte pris derp\u00e5.”<\/i>
\nHenrik Lundgren, Politiken<\/p>\n

\"\"<\/a>

MARK TOMPKINS (IDA)<\/em><\/p><\/div>\n

<\/h5>\n
VIVE LA DANSE!
\n4.-18. SEPTEMBER 1987
\n<\/span><\/h5>\n

[vc_row][vc_column width=”1\/2″]<\/p>\n

Fransk Danseteater Festival Arr. i samarbejde med \u00c5rhus Festuge som led i \u201cKulturfremst\u00f8det Danmark-Frankrig\u201d<\/span><\/p>\n

 <\/p>\n

GROUPE EMILE DUBOIS<\/span><\/strong>
\nLes Louves & Pandora (1986)
\nKOR. Jean-Claude Gallotta
\nMUSIK Henry Torgue
\nSCEN.\/KOST. L\u00e9o Standard
\nLYS Manuel Bernard
\n\u00c5rhus Stadionhallen, 7. september
\n\u00d8stre Gasv\u00e6rk, 9. & 10. september<\/p>\n

 <\/p>\n

COMPAGNIE L\u2019ESQUISSE<\/span><\/strong>
\nLe Royaume Mill\u00e9naire (1985)
\nKOR. Jo\u00eblle Bouvier & R\u00e9gis Obadia
\nMUSIK Jacques Lejeune, Antonio Vivaldi, Richard Strauss
\nSCEN.\/LYS Marc Oliveiro
\nKOST. Dominique Roux
\n\u00c5rhus Stadionhallen, 11. september
\n\u00d8stre Gasv\u00e6rk, 14. & 15. september<\/p>\n

[\/vc_column][vc_column width=”1\/2″]<\/span><\/p>\n

MARK TOMPKINS (IDA)<\/span><\/strong>
\nTrahison: Men, Women, Humen (Trilogi 1984-1985)
\nKOR. Mark Tompkins
\nMUSIK H\u00e9l\u00e8ne Sage
\nSCEN. Felix Perrotin
\nLYSDESIGN Fran\u00e7oise Michel
\nAUDIOVISUEL TEKNIK Alain Longuet
\n\u00c5rhus Stadionhallen, 9. september
\nAlbertslundhuset, 12. & 13. september<\/p>\n

 <\/p>\n

LYON OP\u00c9RA BALLET<\/span><\/strong>
\nCendrillon (1985)
\nKOR.\/ISC. Maguy Marin
\nMUSIK Serge Prokofiev
\nSCEN.\/KOST. Monserrat Casanova
\nMASKER Monique Luyton
\nLYS John Spradbery
\n\u00c5rhus Stadionhallen, 4. & 5. september
\n
\n<\/span><\/p>\n

COMPAGNIE PRELJOCAJ<\/span><\/strong><\/p>\n

A nos H\u00e9ros (1986)
\nKOR. Angelin Preljocaj
\nMUSIK Marc Kahnne, Katchaturian
\nSCEN.\/KOST. Annick Goncalves
\nLYS Jacques Chatelet
\n\u00c5rhus Stadionhallen, 13. september
\n\u00d8stre Gasv\u00e6rk, 17. & 18. september<\/p>\n

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Festivalen, arrangeret i samarbejde med \u00c5rhus Festuge som led i det dansk-franske kultur\u00e5r, var KITs f\u00f8rste samlede dansefremst\u00f8d. 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