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À bras le corps
Boris Charmatz
R1R2
Bouside Ait Atmane
Two Ecstatic Themes
Doris Humphrey
Pavlova 3’23”
CN D – Centre national de la danse
Déserts d’amour [solo]
Dominique Bagouet
Boléro (1962)
Maurice Béjart
Admiring la Argentina
Kazuo Ohno , Tatsumi Hijikata
ELEMENTEN I – Room
Cindy Van Acker
Le Lac des Cygnes (acte II)
Andy De Groat
Cinderella
Maguy Marin
Professor
Maud Le Pladec
Paradis
Dominique Hervieu , José Montalvo
Récital
Mourad Merzouki
d’après une histoire vraie
Christian Rizzo
Cellule
Nach
El final de este estado de cosas, redux
Israel Galván
The chance
Loïc Touzé
Sanctum – Imago
Alwin Nikolais
Watermotor
Trisha Brown
Éloge du puissant royaume
Heddy Maalem Heddy Maalem
Giselle
Yvette Chauviré , Jean Coralli , Florence Clerc , Jules Perrot
May B (2016)
Maguy Marin
Le Lac des Cygnes – Acte II
Natalia Makarova , Marius Petipa , Lev Ivanov
Pororoca
Lia Rodrigues
Trio A
Yvonne Rainer
À bras le corps
“À bras le corps” is the first duet created and performed by Boris Charmatz and Dimitri Chamblas. It represents the origin of the desire to set dance among the audience, rather than in front of them
À bras le corps is the first duet created and performed by Boris Charmatz and Dimitri Chamblas. It represents the origin of the desire to set dance among the audience, rather than in front of them—a desire which will be instrumental in later pieces such as “Aatt enen tionon” and “herses (une lente introduction).” The dancing body is visible from different angles, and writing is conceptualized in a multidirectional space. This duet asserts the physicality of male bodies in close contact. In a rather intimate setting, playing on the proximity of the dancing bodies, the dance is explosive and captivating, demanding that the spectator find the necessary distance to take in the work. From the inception of the project, Boris Charmatz and Dimitri Chamblas hoped that this physicality would be of long duration. How is it possible that this duet could survive over the years, evolve and mature along with the aging bodies, and generate new artistic projects? This is what the two selected extracts intend to demonstrate by focusing on the same moment in the performance—one filmed in 1999 at the Archa Theatre in Prague, the other ten years later, on the occasion of the Preview of the Museum of Dance in Rennes. How do the bodies take charge of the writing of this duet across time and space? How is choreographic writing stabilized even while incorporating an impermanent, sensitive, and necessarily evolving dimension?
Source : Boris Charmatz
More information :
http://www.borischarmatz.org/