Latifa Laâbissi / Figure Project

Thursday 25th January 2018 at 8pm — Studio Bagouet, ICI—CCN

Wednesday 31st January 2018 at 7pm — Studio Bagouet, ICI—CCN

Pour Latifa Laâbissi, le corps est porteur d’histoires et de significations. Réel, fantasmé, imaginaire, physique, sexué, psychique, il est chez elle le support privilégié de toutes les métamorphoses, de tous les déplacements.

Dans ce Par/ICI: qu’elle nomme W.i.t.c.h.e.s Constellation, elle s’intéresse à la figure de la sorcière. Elle articule des oeuvres, pratiques et dispositifs de paroles qui, mis en relation, créent un contexte et donnent à percevoir et expérimenter collectivement des potentiels sensibles, critiques, magiques et subversifs.

"La part du rite" © Domitille Chaudieu
"La part du rite" © Domitille Chaudieu
1 / 4 — "La part du rite" © Domitille Chaudieu
"La part du rite" © Nadia Lauro
2 / 4 — "La part du rite" © Nadia Lauro
"Écran somnambule" © Nadia Lauro
3 / 4 — "Écran somnambule" © Nadia Lauro
"Écran somnambule" © Nadia Lauro
4 / 4 — "Écran somnambule" © Nadia Lauro

Télécharger le dossier de presse : Dp Latifa

LA PART DU RITE — Conférence performée (creation 2012)

Thursday 25th January 2018 at 8pm — Studio Bagouet, ICI—CCN 

You see an immobile shape under a pile of white towels. Hovering over it, a silhouette is doing something, with small meticulous movements. A servant or perhaps a celebrant, she folds, twists, shakes, sculpts the anonymous mummy like a pile of linen. Then you hear a voice, although its provenance is unclear: a muffled, hesitant voice, neither close nor far, which says, “change the world by changing the quality of one’s own movement.”

When evoking amateur or revolutionary dance, you must examine the relationship between physical practice, discourse and utopia in 1920’s Germany: what is the value of emancipation, what is its vector for battles, and what place does it assume in the society of its time? You watch a presentation involving words, and in this act of speaking, this use of discourse – rational knowledge becomes stratified, layered, twisted, hollowed out, folded over; something to be worked over, shaped, revived by certain actions, pressures, movements of covering (up). You are watching two bodies working, triggering and activating each other, reviving a paradoxical space-time continuum in which dance is an activating force. What is La part du rite (A share in the ritual) in the relationship between the body and the articulated discourse, between art and social transformation?

The piece is at once a lecture, a performance, an installation, sounding the connection between flesh and words to reveal zones of emptiness, conflicts, residues, futures. In an ambience of constant tension between manipulation, articulation and disarticulation, a choreographer and a dance theorist seek to connect ideas about states, figures dealing with materials, exploring different aesthetic regimes to question their topicality. Like operators – spoken, disturbed by different layers of movements and references, Latifa Laâbissi and Isabelle Launay awaken a sleepy story, then tuck it in to make it overflow its borders.

When paired with Laâbissi’s Écran somnambule this piece becomes a dialectical object, reflecting the paradoxes of the beginnings of modernity and the invention of a choreographic art simultaneously “a magical power and a critical one,” La part du rite shakes up the archive to awaken its ghosts, offering a montage to the present.
— Gilles Amalvi

Casting and mentions

Concept: Latifa Laâbissi | Performers: Latifa Laâbissi and Isabelle Launay | Set Design and concept: Nadia Lauro | Technical direction: Ludovic Riviere

Production: Figure Project | Co-production: Centre National de Danse Contemporaine d’Angers, CCN de Franche-Comté à Belfort, La Passerelle - Scène nationale de Saint-Brieuc | Studio space: Musée de la Danse - CCNRB à Rennes, La Ménagerie de verre in the Studiolab programme

ÉCRAN SOMNAMBULE — Show (creation 2012)

Wednesday 31st January 2018 at 7pm — Studio Bagouet, ICI—CCN

A compact block in the middle of the bare space. A face, impassible, grimacing. An immobile sculpture which then seems to move, stretch, contract, extend itself to its very limits. Is this an apparition? Of a reproduction? A case of possession? A dream or a projection? By choosing to dance a massively slowed-down version of Mary Wigman’s Witch Dance, Latifa Laâbissi presents us with a mirage, changing the status of this “historic” object, blurring the lines of interpretation. This was a major work in the history of German expressionism, but its only trace now is a tiny fragment, which continues to haunt the dance unconscious like a bad dream: a film lasting only a minute and 40 seconds, dating from 1926, which shows Mary Wigman in a near-trance, her limbs appearing electrified, reacting to the muffled rhythms of the percussion. This aesthetic of contrast, of abrupt rupture, in which the body becomes the conduit for contradictory states – how do we restore to the work its disturbing potential without mummifying it?

Only reproducing what is shown in the images of the film, Latifa Laâbissi slips inside the body of the witch, altering the stage space into a hypnotic state in which each movement reveals its slow construction. A truly cinematographic operation – the slo-mo reveals another vocabulary at its very surface: it introduces a certain distance to the original, while also accentuating its bas-relief, the extreme tension of this disturbing figure. Is this the incarnation of a film or the reproduction of a body? The discordant silhouette is both material and archive, witch and ghost, presence and medium, producing an interesting series of gaps – perceptual as well as historical – leading us to rethink the relationship of the dance to its reproduction, its history, its zones of repression. Écran somnambule: a projectionist’s surface where shapes and references are shown, interior monsters and fragments of reality – in a constant back-and-forth between past and present, lifting spells and reactivation.
— Gilles Amalvi

Casting and mentions

Based on the film Mary Wigman tanzt (1930), an excerpt of La danse de la sorcière (Witchdance,1926) | Concept and performer: Latifa Laâbissi | Figure’s conception: Nadia Lauro | Lighting: Yves Godin | Sound: Olivier Renouf after the instrumental performance of H-B Lesguillier (after music by H. Hasting et W. Goetze) | Technical direction: Ludovic Riviere

Production: Figure Project | Co-production: CCN de Franche-Comté à Belfort, La Passerelle - Scène nationale de Saint-Brieuc | Studio space: Musée de la Danse - CCNRB à Rennes, La Ménagerie de verre in the Studiolab programme

suivi de WITCH NOISES — Étape de travail performée de Latifa Laâbissi et Cookie sur une composition de Jack Manno (création 2018)

En résidence du 22 janvier au 2 février 2018

Mary Anne Santos Newhall chorégraphe, danseuse et historienne américaine, a transmis à Latifa Laâbissi sa version du solo Hexentanz de Mary Wigman, basée sur des archives, textes et photographies inédites. Latifa Laâbissi a incorporé cette transmission et imaginé une nouvelle figure qu’elle cannibalise pour devenir, avec le musicien Cookie, le duo Witch Noises.

Distribution et mentions

Performance : Latifa Laâbissi | Percussions : Henri Bertrand « Cookie » Lesguillier | Chorégraphie et transmission : Mary Anne Santos Newhall | Figure : Nadia Lauro | Création lumière : Yves Godin | Conception amorcée lors de « Scène du geste », conception et commissariat artistique : Christophe Wavelet, en collaboration avec le CN D - Centre national de la danse de Pantin en 2015

Production : Figure Project | Coproduction : ICI — centre chorégraphique national Montpellier - Occitanie / Pyrénées-Méditerranée / Direction Christian Rizzo, CN D - Centre national de la danse, CCN2 - Centre Chorégraphique de Grenoble, Le Triangle - Scène Conventionnée Danse, Rennes

Figure Project est une compagnie à rayonnement national et international – CERNI, avec le soutien du Ministère de la culture - DRAC Bretagne. Elle est soutenue par le Ministère de la culture - DRAC Bretagne au titre des compagnies conventionnées, le Conseil Régional de Bretagne et la ville de Rennes.

Tickets and reservations

Prices: Pass Par/ICI : 16€ | La part du rite : 10€ | Écran somnambule + Witch Noises : 10€

Reservations : / +33 (0)4 67 60 06 79

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highlighted dates: public open activities

June 2018

  • 6
    "d'après une histoire vraie" by Christian Rizzo
  • 12
    Par/ICI: — Nadia Lauro et Zeena Parkins
  • 13 to 14
    Publications master exerce