MEDIATHEK

For the first time since he created his company, the well-named Compagnie Rêvolution, in 2001, Anthony Egéa launches into a large-scale scheme matured over a period of five years. With ten dancers joining in, the show takes a leap into a new dimension, both scale-wise and artistically, that Anthony Egéa is passionately bent on exploring. Extremely partial to virtuosity and keen on versatility, in search of sophisticated hybrid forms of body movements, he conjures up a type of urban dancing that is a mix of hip hop dancing and classical finish and reveals the body as a sculpture. At the heart of Urban Ballet lies this capacity to balance different techniques together. It explores four different visions of the body in a four-act composition. As the piece opens, there is a single performer on stage who dances to Vivaldi’s Stabat Mater, exploring the notions of femininity and masculinity. In the second part, nine performers stage a fantasized vision of the notion of corps de ballet and togetherness to the music of Ravel’s Boléro. In the third part, a trio piece, the dancers act out movement dislocation and deconstruction to the sound of a Iannis Xenakis music score. It leads them to complete liberation of the bodies in the fourth act. The final part, that unfolds to the sound of a Franck II Louise musical creation, presents each dancer with the opportunity of expressing his or her own singularity. Suffused with sensuousness and upheld by finely chiselled writing, Anthony Egéa’s style relies on a type of scenic presence that is half way between revealment and concealment, from which he derives a range of movements obsessed with grace, limpidity and weightlessness. (Quelle: http://www.cie-revolution.com/EN/shows.php?rg=0&item=7) isrr