for creative research - Lyon
Theater / Dance /
Circus / Music
Jeudi 11, vendredi 12 et samedi 13 janvier 2018 à 20h
How do you go from being a dancer to a creator-choreographer? By going through a rough transition, a close inspection during which issues of resistance and change come up. How do you carve out a new artistic path from the ones you’ve been traveling all these years? Harris Gkekas started his dance career when he was just 13. He was a virtuoso dancer for a large number of choreographers. Mille is a solo about development that bears witness to letting go. Destruction becomes foundation as chaos gives way to calm, impulsiveness to maturity and, like a refrain, dance searches for a beauty so intense it burns, making way for something new.
Harris Gkekas was trained at the E.N.M.D. (school of music and dance) in Bourges by Daniel Lommel. He made his professional debut with Ballet AENAON and J.B.I. Rosella Hightower. Between 2002 and 2014 he performed as a soloist for the Rhine Ballet, the Ballet of the Grand Théâtre in Geneva, and the Lyon Opera Ballet. During that time he danced a repertoire ranging from the ultra-classical to the ultra-contemporary and met choreographers such as Lucinda Childs, William Forsythe, Maguy Marin, Merce Cunnigham, Trisha Brown, Christian Rizzo, Allain Buffard, Jérôme Bel, Rachid Ouramdane, etc. Since November 2014 he has been developing a duet called Dentro, as well as Blow the Bloody Doors Off (premiere, 2016) with Catherine Diverrès.
In 2015 Gkekas kicked off STRATES’ activity by choreographing Yond.Side.Fore.Hind., a 20-minute duet he danced with Karline Marion. He also created Encore, a piece for a group of students commissioned by the Lyon Opera. He ended 2015 by creating Leçons de Ténèbres with Yves Noël Genod. In 2016 he presented a performance based on VWA composition methods at the St Romain en Galle Museum in France’s Vienne county, and was called on to choreograph for the Châteauroux dance academy (CAD) and the music and dance conservatory (CNSMD) in Lyon. Gkekas has a Diplôme d’ Etat and is frequently called on to teach, such as for the companies of the Rillieux-La-Pape center for choreography (CCN) and the CNSMD and UCLY in Lyon, and to sit on juries.
Conception/Interprétation : Harris Gkekas
Scénographie/Lumières : Gabriel Foussard
Dispositif Sonore : Didier Ambact
A couple. A very tall young man and a shorter young woman. He is 1.96m tall; she is 1.60m tall. Between obsession and suffocation, they seem to want to be one person. As if Edvard Munch’s The Kiss became a dance that alternated between sensuality and violence. Cécile Laloy is a choreographer and dancer who also does performance art. Her search to combine the intense physicality of dance with a certain theatrical literalness, and her very particular way of shifting from humor to drama, are what make her work as a young choreographer so strong.
While studying dance at the CNSMD in Lyon, Cécile Laloy also trained in kung fu and as a clown. She works as a dancer with Maguy Marin, Pierre Droulers, the Loge 22 collective, Annie Vigier, and Franck Appertet (Cie les Gens d’Uterpan), as well as for Alice Laloy. In 2003, she founded the Als company. From the very beginning, the Maguy Marin company has provided regular support for her choreographies. In 2013, she earned her diplôme d’État and started teaching at the Ecole de la Comédie in Saint-Étienne. Laloy’s choreographic work blends dance with theatrical work, performance art, and music. She enjoys involving the audience in her pieces, inviting them on stage or having them become active participants, such as for Clan’ks (2015), a choreographic concert.
Chorégraphe : Cécile Laloy
Danseurs : Marie Urvoy, Joan Vercoutere
Lumière : Johanna Moaligou
Musiciens : Damien Grange et Olivier Bost
Costumes et scénographie : Alice Laloy
Régie son : Damien Grange