spectacles

parades & changes, replays – parades & changes, replay in expansion

french version

Two re-interpretations of Parades & Changes – Anna Halprin (1965)
Artistic direction Anne Collod

 

parades & changes, replays (2008)

conception, artistic direction Anne Collod
in dialogue with Anna Halprin  and  Morton Subotnick
re-interpretation and performance  Boaz Barkan, Nuno Bizarro, Alain Buffard, Anne Collod, DD Dorvillier, Vera Mantero
music Morton Subotnick assisted by Sébastien Roux
lighting Mikko Hynninen
artistic collaboration Cécile Proust
costumes Misa Ishibashi
scenographic elements Misa Ishibashi, Alain Gallissian
graphic elaboration of the scores  Mathias Poisson
technical direction  Nicolas Barrot
management Henri jules Julien

production …& alters
coproduction Festival d’Automne à Paris / Les Spectacles vivants – Centre Pompidou / la Biennale de la Danse de Lyon / le Centre National de Danse Contemporaine d’Angers / Le Manège de Reims – Scène Nationale / le Centre Chorégraphique National de Montpellier Languedoc Roussillon
with the help of New England Foundation for the Arts / FUSED (French US Exchange in Dance) / French American Cultural Society / ADAMI / DRAC Île de France / SPEDIDAM / Fondation Beaumarchais / CulturesFrance / Services culturels, Consulat Général de France à San Francisco / Services culturels, Ambassade de France aux USA.
and Culturgest Lisbonne / Le Vivat Scène Conventionnée d’Armentières / Micadanses Paris / Les Laboratoires d’Aubervilliers.

parades & changes, replays

In the mid-nineteen 40’s in California, the choreographer Anna Halprin began to develop one of the most radical and fecund artistic adventures of the XXth century. Using improvisation, « tasks » (an innovative concept which brings the gestures of daily life in the field of dance), collaboration with artists of numerous disciplines, work in nature, involvement in major political and social conflicts, work with nudity, on the relationships between communities and, later, illness and death, all her aesthetical approaches and her working processes laid the foundations of Performance, and opened a vast field of experimentations for American post-modern dance and numerous artists.

Anne Collod, who went to San Francisco to work with this extraordinary woman, invited a group of major European and American choreographers / performers to re-open the construction site of Parades and Changes, Halprin’s seminal work of the 60’s. In dialogue with Anna Halprin and composer Morton Subotnick, they re-enact and update the numerous “scores” of this work, and introduce for the first time since the 60’s a complete re-interpretation of the piece which was banned for twenty-five years in the United States because of the use of nudity.

Putting into play daily actions altered by very simple instructions, performers cross the theater with a series of « parades » which invite imagery of the collective and utopias of « being together ». Sound bodies, trips of objects, distended temporalities, raw materials and numerous sensorial states : This « ceremony of trust » is a magnificent unveiling which lays bare the process, the place, the action and the performer.

By the « astounding beauty of these compositions for body, music, colours, sounds, words and daily actions » – as well as its commitment, its viguour and its radiance – the re-interpretation brilliantly reclaims Anna Halprin’s rightful place in the world of dance and perfomance.

« Due to this very fine tuning, the actuality of these processes, and last but not least to the profound depth and substance of the “original” piece, parades & changes, replays unfolds to a timeless masterpiece, which is not only very pleasant to watch, but articulates issues of performance and representation which still are very valid today. »

 

Parades & Changes (1965) : the historical work

Result of a long-term experimentation based on improvisation and collaborative process,
Parades & Changes is a key work, emblematic of the researches and processes developed by Anna Halprin since the fifties.

Looking for a means to have « things happen in an unpredictable way », setting tasks and lifting movement from daily life, defining independent cells of autonomous action, displacing material and taking objects out of their context, moving out of the boundaries set by the stage, invading the entire theatre environment as a « site », taking physical risks, bodies sounding, whispering, speaking, shouting, using a stretched or distorted sense of time, cooperation and pluridisciplinarity, these are some of the themes which flow through this prolific work.

Worked out in collaboration with the composer Morton Subotnick, the method used for the composition is based on a complex score which enables and encourages collaboration with multi-disciplinary artists, allowing the structure to remain entirely flexible and to take on an unlimited amount of new material.

 » A literal democracy-in-action, Parades and Changes is an evening-long, six-part series of group negotiations the cast of nine performers make when confronted with a series of challenging tasks, environments and ambitions that form the choreographic grid of this dance. The most celebrated two sections of the dance, and most frequently revived, are the undressing and dressing and paper-tearing sequences. Here the functional action of taking off and putting on ones clothes and then slowly ripping huge lengths of brown paper, constitute the series of actions Halprin wants considered as a spare and pure dance. This reframing of functional activities as art evokes Marcel Duchamp in its sensibility at the same time it gestures forward to post modern dance in its aesthetic. The task of theatre thus becomes the creation rather than the depiction of a life situation. 

Parades and Changes echoes and amplifies many of the social and political values of the 1960s from the broad questioning of the status of the body in public space to the relationship between agency and structure and how to stage presentness. In its use of the directness of experience as the major medium of exchange between the audience and the performers Halprin’s dance champions what scholar Carrie Lambert-Beatty has called « the epistemology of immediacy » of this era. It is embedded in the moment-by- moment choices the dancers make as they negotiate just how to shred a huge length of brown paper or pull yards of plastic through the aisles of the theatre. The dancers’ movements in each of the sections of Parades and Changes are drawn from a repertoire of task performance – non-theatrical, practical actions that one routinely performs as part of her daily life. Instead of being heavily mediated by virtuoso movement technique, the challenge in doing these actions lies in not theatricalizing them, in making them as immediately visually accessible and undifferentiated from life as possible. 

(…) A broader point Parades and Changes makes – and this is a key to its iconic status in the cultural memory – is the elevation of the ordinary, the erasure of boundaries of the elite and mundane about who can dance, which bodies doing what kinds of actions can be seen as art and the urgency of direct experience as the most essential truth uniting both art and politics in this tumultuous decade. » Janice Ross – in « Parades and Changes: The Art of Revolution in the 1960s »

 

Parades & Changes (Anna Halprin / Morton Subotnick) created September 5, 1965 in Stockholm, Sweden, was performed 12 times until 1967 and its censorship in the US (Poland / University of California, Berkeley / University of California, Los Angeles / San Francisco State University / “On the Mall”, Fresno / Hunter College, New York)

parades & changes, replays (Anna Halprin / Morton Subotnick / Anne Collod & guests) created September 18, 2008 in Lyon, Biennale de la Danse (Fr), was performed at : Festival d’Automne, Centre Pompidou Paris (Fr) / Kaiitheater Bruxelles (Be) / Tanzquartier Wien (Ge)/ Culturgest Lisbon (Po)/ Fundacao de Serralves Porto (Po) / Le Vivat Armentieres (Fr)/ Tanzhaus NRW Düsseldorf (Ge)/ Museum Ludwig Köln (Ge)/ Greek Festival Athen (Gr)/ Tanz Im August Berlin (Ge)/ Museum Contemporary Art Chicago (USA)/ RedCat Theater Los Angeles (USA)/ Dance Theater Workshop New-York (USA)/ Le Manège Reims (Fr)/ CNDC Angers (Fr)/ La Passerelle Saint-Brieuc (Fr)/ Centre Pompidou Paris (Fr)/ Lieu Unique Nantes (Fr)/ Halle aux Grains Blois (Fr)/ Théâtre Garonne Toulouse (Fr)/ TAP Poitiers (Fr)/ Festival les Météores Le Havre (Fr)/ Southbank London (GB)

parades & changes, replays received a Bessie Award in New York in 2010.

 

 

parades & changes, replay in expansion  (2011)

a reinterpretation of Anna Halprin‘s Parades & Changes (1965)
artistic direction Anne Collod

 

parade of construction - parades & changes, replays - Anne Collod/Anna Halprin © photo Helena Silva

parade of construction – parades & changes, replays – Anne Collod/Anna Halprin © photo Helena Silva

 

 

parades & changes, replay in expansion

conception, artistic direction Anne Collod
in dialogue with Anna Halprin  and  Morton Subotnick
re-interpretation and performance Anne Collod, Ghyslaine Gau, Saskia Hölbling, Laurent Pichaud, Pascal Queneau, Fabrice Ramalingom
Yoann Demichelis, Ignacio Herrero Lopez, Eric Lecomte, Chloé Moura
music Morton Subotnick assisted by Pierre-Yves Macé
lightning Henri-Emmanuel Doublier
artistic collaboration Cécile Proust
production Henri jules Julien 

production …& alters
coproduction Parc et la Grande Halle de La Villette, Paris / La Brèche, Centre Régional des Arts du Cirque, Cherbourg with the help of Arcadi and SPEDIDAM

and Académie Fratellini centre international des arts du spectacle, Saint-Denis / Montpellier Danse.

 

parades & changes, replay in expansion

In the mid-nineteen 40’s in California, the choreographer Anna Halprin began to develop one of the most radical and fecund artistic adventures of the XXth century.

Using improvisation, « tasks » (an innovative concept which captures the gestures of daily life into the field of dance), collaboration with artists of numerous disciplines, work in nature, involvement in major political and social conflicts, work with nudity, on the relationships between communities and, later, illness and death, all her aesthetical approaches and her working processes laid the foundations of Performance, and opened a vast field of experimentations for American post-modern dance and numerous artists.

Anne Collod, who went to San Francisco to work with this extraordinary woman, invited a group of major European and American choreographers / performers to re-open the construction site of Parades and Changes, Halprin’s seminal work of the 60’s. In dialogue with Anna Halprin and composer Morton Subotnick, they re-enact and update the numerous “scores” of this work, and introduce for the first time since the 60’s a complete re-interpretation of the piece which was banned for twenty-five years in the United States because of the use of nudity.

Putting into play daily actions altered by very simple instructions, performers cross the theatre with a series of « parades » which invite imaginary of the collective and utopias of « being together ». Sound bodies, trips of objects, distended temporalities, raw materials and numerous sensorial states : This « ceremony of trust » is a magnificent unveiling which lays bare the process, the place, the action and the performer.

parades & changes, replay in expansion proposes a complete version of all the « scores » of the sixties and pushes the potentialities of this major play by inviting four performance artists coming from the circus to join the dancers. Their qualities and their specific imagination will be in the heart of the reactivation of new parades, and quite particularly a Parade of Construction, symbolic of the piece by its deployment in the third dimension:

Taking support on the elements of the venue, in particular on the Samia tower serving to settle the lightings, the circus artists will leave the scene to gain the heights and will take us in an air crossing which will make us feel the space and the scales of the place, by their liveliness and their capacity to let go.
The lightning will also participate in the expansion of the parades and will orchestrate a ballet of projectors which, by playing with the shadows and the contrasts, will reveal the multiple dimensions and the hidden resources of the theatre.

The participation of leading air-artists and their interaction with the dancers/performers artists will contribute to renew the dimension of this work revolutionarily trans-disciplinary in the sixties.

Served by a team of dancers and circassians very committed in the exploration of its potentialities, involving for the first time the whole of the historic scores developed by Halprin and the new scores of 2008, replay in expansion will be the opportunity of a re-foundation of the diverse versions of the 60s and the 2000s in an original shape.

parades & changes, replay in expansion was premiered at Cergy Pontoise – Apostrophe scène nationale March 11, 2011
and performed at:
Metz Arsenal (Fr), Montpellier Danse (Fr), Seoul Modafe Festival (Ko), Paris Grande Halle de la Villette (Fr), November Festival Helsinki (Fi), Dansenshus Stockholm (Sw), Vanves Festival Ardanthé (Fr), Köln Bühnen  (Ge), Festival Uzès Danse – Uzès (Fr),  Le Perreux- Centre des Bords  de Marne (Fr),  Festival Plastique Danse Flore – Le Potager du Roi Versailles (Fr).

 

 

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