miramar

Upcoming date(s)

13 to 14 January 2022

[Premiere] at BONLIEU, Scène nationale d’Annecy

22 January 2022

Le Parvis, scène nationale Tarbes Pyrénées

26 to 28 January 2022

Toulouse

11 to 12 February 2022

Théâtre de Nîmes

5 to 6 March 2022

Opéra de Lille

18 to 19 March 2022

LORIENT

11 to 14 April 2022

CENTQUATRE-PARIS

23 April to 30 May 2022

Festival DDD, Porto, Portugal

3 May 2022

Le Bateau Feu Scène Nationale Dunkerque

Christian Rizzo
Creation 2022, for 11 dancers

Miramar Biarritz Portrait Christian Rizzo
miramar © Christian Rizzo

There is the sea. And, especially, those who gaze upon it.

And then, there are hotels, holiday residences and buildings, often dilapidated, which announce the promise.

miramar

Bay windows.

The horizon, fixed in space, and the incessant flow which coexists, and in the gap, lost glances and untangled bodies.

Vague or historical beings, lost in mistaken memories.

Say «far off» or, «on the other side», with the weight of the fixed point, measuring space ahead.

To be the body of another with others, interwoven organic fragments, a spatial ectoplasm.

Retracing steps, stepping through the intervals between bodies and feeding the void of upheaval.

Then, taking shape, dancing the bond with that which is invisible, in a constantly recomposed saudade.

— Christian Rizzo, February 2020

____________

Horizon, perspectives and flows: call in motion, movement through the call

It all begins with a call, of sorts, to something, far away.

I like the idea of «over there», «on the other side»; an indefinable absence.

Maybe just projection? Maybe oneself, or someone else?

A sort of tearing, a hole, an absence, inducing the need to call through movement. Between the body emitting the call and the perspective point, there is flow. These three elements are the starting point from which I begin to build a compositional sketch.

The horizon, its observation point, and flow: how is the constant shift from one to the other woven? And, how is the elasticity between abstraction and fictional mode embraced into the movement?

I also have saudade in mind; that complex feeling where nostalgia, melancholy and hope intertwine. A state that summons up what has left us, while awaiting its return, without being really sure that this is possible.

Power found in the uncertainty of the existence of an off-camera mode.


1 + 10 dancers

To date, the performance is built around two inseparable parts: a solo piece, followed by a polyphonic section, whose composition is a combinatorial of singular calls.

Parallel stories: alone and in a group, crossed, fragmented stories.

The inaugural solo piece provides a frame, inscribing space; the dancer stays on stage, facing away from the audience, observing the group that is being formed. Those watched are also those who make up the flow between dancer and horizon.

The dancer is the witness who summons the calls through different stories, and / or geographies.

The watching body is crucial. It is through this gaze that the group exists.

All calls are projected very intimately towards a vanishing point, which is the same for all.

Is the call ultimately common?

Characters in search of horizons

For the first time in my work, I am tempted to call on atypical characters along with hybrid figures in order, maybe, to mark the idea that this community facing the horizon, does not really exist, in fact. That it has been fortuitously formed, driven by the intimate, deep absence of another person.

The only thing they have in common is their presence here, calling up something very personal.

Let us consider the ten interwoven calls, evoking, inter alia, the space of memory.

I always keep alive this obsession for characters in search of an author, claiming their context in order to better understand what they are made of and what future they can hope for.

The question of contextualization / de-contextualization is exactly what interests me: all that is missing, an active void, or tension with that which is absent.


Scenography

I imagine a luminous, capped structure, with a large, mobile neon composed of 5 to 7 autonomous modules, filling the stage. I have in mind the image of photocopier light; a line which «scans» the ground and could, subsequently, start to shift, via each module (each having its own movement), to reform - momentarily - a single line.

The movement of light will continuously circulate from stage front to backdrop. A line of light oscillating, as the modules composing it shift.

As for the stage floor, I see it coated with a shimmering, or metallic texture, strongly reflecting the trace of light. A way of revealing the dancers caught in constantly moving luminous reflection.

The notion of “scan” reminds me of the ebb and flow of the tide, moving back and forth with regularity, but - here - in a more disturbing, inexorable, mechanical manner.

— Christian Rizzo, March 2020 / Interview by Smaranda Olcèse-Trifan

Choreography, stage design, costume design: Christian Rizzo

Dance: Youness Aboulakoul, Nefeli Asteriou, Lauren Bolze, Lee Davern, Fanny Didelot, Nathan Freyermuth, Pep Guarrigues, Harris Gkekas, Raoul Riva, Vania Vaneau, Anna Vanneau | Light design: Caty Olive | Original music: Gérome Nox | Artistic assistant: Sophie Laly | Technical direction: Thierry Cabrera

Production and Touring : Anne Fontanesi, Anne Bautz

Production: ICI — centre chorégraphique national Montpellier - Occitanie / Direction Christian Rizzo

With the support of: Dance Reflections by Van Cleef & Arpels

Coproduction (pending): Bonlieu Scène nationale Annecy, Opéra de Lille, CENTQUATRE-PARIS, La Place de la Danse - CDCN Toulouse/Occitanie,Théâtre de Nîmes, Teatro Municipal do Porto / Festival DDD – Dias da Dança (Portugal), Le Parvis, scène nationale Tarbes Pyrénées / GIE FONDOC, Charleroi danse centre chorégraphique Wallonie Bruxelles, Le Bateau Feu Scène Nationale Dunkerque

Acknowledgements: Ménagerie de Verre – Paris

Logo Dance Reflections
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highlighted dates: public open activities

Archives

April 2021

  • 6
    Par/ICI: nyamnyam
  • 6 to 9
    Pratique du matin / exerce — Carme Torrent

    de 10h à 12h, à ICI—CCN

    En savoir plus

  • 13
    Atelier EN COMMUN — Christine Jouve et Catherine Beziex

    de 18h30 à 20h30, à ICI—CCN [tous publics]

    En savoir plus

  • 14
    "une maison" by Christian Rizzo (cancelled)

    La Filature, Scène nationale de Mulhouse

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  • 15
    Par/ICI: soirée TOPO — nyamnyam

    à 19h, ICI—CCN

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  • 20
    Atelier EN COMMUN — Christine Jouve et Catherine Beziex

    de 18h30 à 20h30, à ICI—CCN [tous publics]

    En savoir plus

  • 20 to 22
    "une maison" by Christian Rizzo (cancelled)

    Dansens Hus - Nasjonal scene for dans, Oslo (Norvège)

    En savoir plus

  • 28
    Le club de danse — Marta Izquierdo Muñoz

    de 19h à 21h, à ICI—CCN [tous publics]

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  • 28 to 29
    "une maison" by Christian Rizzo (cancelled)

    Dansens Hus - International Scene of Contemporary Dance, Stockholm (Suède)

    En savoir plus

  • 29
    Fenêtre sur résidence — Marta Izquierdo Muñoz

    Guérillères à 19h [entrée libre] — Studio Bagouet, ICI—CCN

    En savoir plus

May 2021

  • 3
    exerce classe ouverte — Jérémy Damian

    de 14h à 17h, à ICI—CCN [tous publics / entrée libre]

    En savoir plus

  • 18 to 20
    Publications M2 — Master exerce

    Présentation publique des travaux des étudiants en 2de année

    ICI—CCN → 19h [entrée libre]

    En savoir plus

  • 27
    Fenêtre sur résidence — Sorour Darabi

    à 19h [entrée libre] — Studio Bagouet, ICI—CCN

    En savoir plus

June 2021

  • 4
    "le syndrome de ian" de Christian Rizzo

    Opéra de Rennes
    — in the framework of Festival Big Love

    En savoir plus

  • 8 to 10
    Publications M1 — Master exerce

    Présentation publique des travaux des étudiants en 2re année

    ICI—CCN → 19h [entrée libre]

    En savoir plus

  • 11 to 17
    Résidence — Volmir Cordeiro

    à ICI—CCN

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  • 28
    "b.c, janvier 1545, fontainebleau" de Christian Rizzo

    Musée de l’Orangerie, Paris

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July 2021