Tag: Dispatches | France

  • Nantes troupe reinvents Swedish dramatist Lars Norén’s play

    NANTES, FRANCE: Creation Workshop Theatre at University of Nantes presented Holy Savior of the Spilled Blood, a theatrical moment developed by Mark and Marilyn Tsypkine Leray (LTK Productions, Nantes). The work brings together fragments of Swedish dramatist Lars Norén‘s play Category 3.1. This presentation was made at the FUN, Festival of University Theater, 29 and 30 March 2012. Besides numerous other actions and achievements, this action reflects the actual reality of [Pole Fas], Pole exchange for training in the performing arts, which aims to bring together institutions and Nantes training institutions create and theatricaldistribution. This initiative illustrates the synergies of the constellation of Nantes in the context of the establishment of a cluster Quarter (s) of creation, including the Ecole nationale supérieure  d’architecture de Nantes is an active partner. The mysterious “3.1” denotes a category under which the Swedish administration classifies and registers all those existing on the margins of society: alcoholics, drug addicts, psychopaths, the homeless, and the jobless without unemployment benefits. In Stockholm such people congregate around Segles Torg, a huge square in the very centre of the city. Lars Norén watched them and spent time with them in order to describe, in Personenkreis 3.1 (or Category 3.1), thirty individuals he had met in Sergles Torg. Every day they would drink, dream, take drugs, screw and sometimes even kill each other right before his eyes. The original form of short, dramatic dialogues evolved into a dark tale of people living on the margins, of lost hopes and a desperate attempt to preserve the last vestiges of dignity. –RG IN FRENCH J’ai le plaisir de …

  • Congolese Faustin Linyekula re-stages 1923 “negro-cubist fantasy” ballet in Brussels, Amsterdam and Paris

    The Ballet Suédois performed the premiere of La Création du monde in Paris in 1923. Combining the talents of Fernand Léger, Blaise Cendrars, Darius Milhaud and Jean Börlin, this “negro-cubist fantasy” conveys the influence of Harlem jazz and, a few years after the end of the war, draws on the energy of “primitive” arts to herald in a new world: a hint of escape in the midst of the Roaring Twenties.  Having in mind this project for many years, Faustin Linyekula restages this ballet which turns blindly its back on the brutal colonial reality of an era marked by forcible enrollment, extreme violence and coercion in African colonies. Moving between present and past, this “re-creation of the world” reflects on a “collective” history: how do / did Africa and Europe observe one another? And can the past really be shared? Linyekula’s new version premières 24 and 25 May, 8pm, 26 May, 6pm at the KVS Theater / Bol as part of the Kunstenfestivaldesarts, Brussels; 31 May, 1rst, 2 June, 8pm, 3 June, 3pm at the Opéra national de Lorraine, Nancy; 13 and 14 June, 8.15pm at the Holland Festival, Amsterdam; and 20-23 June, 8pm30 at the Théâtre de la Ville, Paris. Faustin Linyekula and the Ballet de Lorraine present:La …