The idea behind this workshop orchestrated by Olivia Grandville is to trade: you teach your dance and learn someone else’s to create a shared vocabulary and navigate various techniques together, whether they are professional or popular, classical or contemporary, folkloric or sacred.
Olivia Grandville Born in 1964, she received classical training at the Paris Opera School of Dance and joined the ballet in 1981. After moving up to the “subject” level two years later, she became interested in contemporary dance and made several trips to the United States. Between 1981 and 1988, when she resigned, she had the chance to dance not only the classical repertoire, but also in works by Balanchine, Limon, and Cunningham, and to participate in creations by Maguy Marin, Dominique Bagouet, and Bob Wilson, among others. In 1989 she joined Bagouet and participated in all of its creations until 1992, when she started doing her own work. Since then, she has produced about twenty projects, including the K de E, Instantané/Provisoire, Il nous faudra quand même un peu d’argent…. j’ai fait des économies, Paris-Yerevan, Come Out, Comment taire, and My Space. In 2010 she received a commission from the Avignon Festival, where she premiered Une semaine d’art en Avignon as a short form (Sujet à Vif) with Léone Nogarède and Catherine Legrand. For her 2011 piece Le cabaret discrépant, she returned to her favorite areas with other precursors of the 1950s. Drawing on the concerts and cabarets organized by Fluxus and Dada, she develops the radical theories of Isidore Isou and Maurice Lemaitre, the founders of lettrism. The piece was on the program at the 2011 Avignon Festival, then at the Théâtre de la Colline, the Théâtre Pôle Sud (Strasbourg), the Lieu Unique (Nantes), and the Musée de la danse (Rennes). In Cinq Ryoanji (2012), she worked with scores by John Cage, in which recorded and live music, writing, and improvisation are blended. The piece was presented at the Ferme du Buisson and the Cité de la Musique. The next projects were L’invité mystère (2013), created following a proposal from the Actoral Festival, and Le Grand Jeu (2014), which was on last year’s program at the TU and the Ménagerie de verre. Grandville works not only as a choreographer, but also as a teacher and improviser, and as a dancer for Vincent Dupont (Incantus) and Boris Charmatz (Flipbook, Levée des conflits, Roman Photo). On the invitation of Théâtre Ouvert, she created Toute ressemblance ou similitude (2014), staging Aurore Jacob’s Au bout du couloir à droite. She followed that with Foules, a creation for one hundred non-professionals, in June 2015.