MEDIATHEK

»Cédric Andrieux« is a solo for the dancer Cédric Andrieux. The piece is a self-contemplation of his career as a perfomer in the Merce Cunningham Dance Company in New York, and recently at the Lyon Opera Ballet. »Cédric Andrieux« is in line with a series of performances initiated in 2004 with a solo for the dancer of the corps de ballet of the Paris Opéra, »Véronique Doisneau«. 

CONCEPT: Jérôme Bel

BY AND WITH: Cédric Andrieux

WITH EXTRACTS OF PIECES BY: Trisha Brown (Newark), Merce Cunningham (Biped, Suite for 5), Philippe Tréhet (Nuit Fragile), Jérôme Bel (The show must go on)

COACHES: Jeanne Steele (Merce Cunningham) and Lance Gries (Trisha Brown)

COPRODUCTION: Théâtre de la Ville (Paris), Festival d'Automne (Paris), R.B. Jérôme Bel (Paris)

SUPPORTED BY: Centre National de la Danse (Paris), La Ménagerie de Verre (Paris), Baryshnikov Arts Center (New York)

THANKS TO: Thérèse Barbanel, Trevor Carlson and Yorgos Loukos

DURATION: 80 minutes 

LANGUAGE: english (or french)

The piece is part of the Merce Cunningham Centennial in 2018-2019.

R.B Jérôme Bel is supported by the Direction régionale des affaires culturelles d'Ile-de-France, French Ministry for Culture and Communication, by the Institut Français, French Ministry for Foreign Affairs, for its international tours and by ONDA - Office National de Diffusion Artistique - for its tours in France

R.B. JÉRÔME BEL:

ARTISTIC ADVICE AND EXECUTIVE DIRECTION: Rebecca Lee

PRODUCTION MANAGER: Sandro Grando

Cédric Andrieux is a solo for the eponymous dancer Cédric Andrieux. This piece is a self-contemplation of his career : first of all his training as a contemporary dancer in the city of Brest (France), and at the Conservatoire National Supérieur de Musique et de Danse de Paris, then as a perfomer in the Merce Cunningham Dance Company in New York, and recently at the Lyon Opera Ballet.

Cédric Andrieux is line with a serie of performances initiated in 2004 with a solo for the dancer of the corps de ballet of the Paris Opéra, Véronique Doisneau. In 2005 came Isabel Torres, ballerina of the Teatro Municipal of Rio de Janeiro, and Pichet Klunchun and myself, a duet created in Bangkok with Khôn (classical royal dance of Thailand) choreographer and dancer Pichet Klunchun. Lutz Förster, finally, is a solo for the performer of Pina Bausch, Bob Wilson, and the José Limòn Dance Company.

These three productions are built on the experience and savoir-faire of performers who have all made their mark as dancers. Each specialises in a particular type of dance - classical ballet, Thai classical dance and modern American dance – and so each artist has a practice that is clearly distinct from that of art historians, critics and choreographers.

In each of the productions that make up this series, the artist’s experience of the threads that constitute the history of western or Asiatic choreography is related in the first person. The title of each production, therefore, is the name of the performer. With the exception of the duo Pichet Klunchun and myself, the various presentations in this series are all solo performances and mark the place where the life of an individual intersects the history of dance.

Each artist produces a discourse which describes, as simply as possible, the working environment in the various places where he intervenes. This is an individual point of view, that of a minority group, the idea being for the artists to recognize their status as creators to determine their place in the course of history. This approach makes it possible to establish a counterweight to the accepted discourses from historians, critics or choreographers. These productions aim to provide statements that will demonstrate a subjectivity at work that is distinct from and complementary to the stereotyped descriptions of artistic practices that constitute the history of choreography.

What I find essential in this work is to try to analyze the extent to which a particular artistic project or a particular style alienates or emancipates an artist either as a historical subject, a member of society or as a worker. Each artist is himself the vector of this alienation or emancipation. In return, I insist that this should be felt by each spectator, the performer being, as his name indicates, the interpreter, the channel between the choreographer and the public.

Jérôme Bel

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