Reinventing Pier Paolo Pasolini in three acts
The third edition of the Imprevus took place May 18-21, 2016, at the state of the art Studio of the Ballets of Monte-Carlo. This time Jean-Christophe Maillot pushed his dancers outside their limits giving them the possibility to embrace the role of choreographers, while inviting the 4th and 5th years students of the Pavillon Bosio (School of Art in Monaco directed by Isabelle Lombardot) to join them in producing three pieces, interpreted by dancers from the company.
I believe it is true that dancers make great choreographer as their experience on stage enables them to create new dance routines, and develop their own interpretations of existing dances for ballets and also musicals. At rehearsals, choreographers instruct and lead dancers to achieve their vision. Jean Christophe Maillot encourages their dancers to take a chance at choreography to see their ideas take shape onstage. In turn wearing the choreographer’s hat helps dancers in their development, using this art form as a kind of mirror.
Under the coordination of teachers from Pavillon Bosio, Ondine Breaud-Holland, Gilbert della Noce, Dominique Drillot and Damien Sorrentino, together with choreographer Jeroen Verbruggen, the young choreographers and scenarists produced pieces reverberating with the work and engagement of the controversial film director, poet, writer and intellectual Pier Paolo Pasolini.
The creative dancers turned choreographers and the talented art students, working together gained by association, and the pieces they produced are proof of their ingenious minds. They selected the works of Pier Paolo Pasolini by design, for the strength and depth of the philosopher’s message. They enticed us to have the courage to enter the world they recreated, and I can assure you that when we returned from the passionate voyage, we were not the same.
Mother-F choreographed by Bruno Roque – A woman, two lives, a son
As the story goes, the mother is condemned to the night with its cigarettes and high heels, in obscure places frequented by men in suits, men she tolerates, men she replaces by only one, younger, in a white tank-top and with a face stricken with a curse. Men she would like to forget to give room to the son of the present. The child is dead and her clients wait for her with their arms crossed. On the scene, we see a white floorboard, over which there is a low wall. The men wait, leaning against the boards that the mother would have wished were those of a house, but that in reality are the walkway for a prostitute. Not far, there is basement window overlooking the sky. Light escapes from the cold metal railing enclosing the lifeless son. Above him, his mother dances between the hands of the men, while behind them pass the landscapes of dust, of hopes that collapse in the periphery of cruel villages…
Scenography/ Lighting /Costumes: Sophie Blet, Maxime Decouard, Panthea Revenchard, Gael Rosticher, Ines Rosticher, Maxime Decouard
Theorem 68 choreographed by Julien Guerin – Existential crisis
It is 1968. A rich bourgeois family from Milan welcomed a mysterious and sensual young guest, who has intimate relations with each member of the clan. His departure provokes the disintegration of the family core and plunges each character, except the maid, into a deep existential crisis. From the novel to the film, Theorem is the demonstration of the violent intrusion of the sacred feeling in a society with fictitious values, where man disconnects from reality.
In using Schubert’s fantasy as a narration thread, Julien Guerin wished to transcribe in the most faithful way, in his choreographic tale, this masterpiece by Pasolini, while creating a personal atmosphere. The music of Nils Frahm allowed Guerin to put into context the psychology of the characters and the feelings experienced by proxy by Pasolini. Guerin wanted to demonstrate their contradictions, their claims and finally their injuries.
Through his choreographic work, Guerin unveils the fundamental question of the necessity to live your most repressed desires to succeed, in spite of the dictates imposed or strongly suggested by the self-righteousness society.
Scenography / Lighting: Roxane Ducuret, Axelle Terrier, Juilen Rebour, Eddy Achard. Costumes: Laurie Camous, Mariane Le Duc
The Dream of A Thing choreographed by Anja Behrend – Is bourgeoisie an illness?
The inequalities and drifting of power among the social classes is a theme that traverses throughout Pasolini’s works. The bourgeoisie is according to him a “contagious illness”. It constitutes a menace to individual identity for the profit of a conformist society that tends to erase differences to impose a consumerist model. So what happens when desires instilled by power take control and make us descend into a permanent sentiment of unhappiness? What happens when our social mask dethrone our instincts and invades everything, distancing us from our own center?
Scenography: Sinem Bostanci, Marie Pellegrino, Juliette Broquet, Lucile Bodin, Jingran Tan, Jeremy Griffaud, Amandine Maillot
“Choreography is writing on your feet.” Bob Fosse