This content contains scenes that may shock an uninformed audience.
Do you still want to watch it?
Allegria
Kader Attou
Passagers
Shana Carroll
Magma
Christian Rizzo , Andrés Marin , Marie-Agnès Gillot
Casse-Noisette
Vassili Vainonen
Casse-Noisette
Lev Ivanov , Vassili Vainonen
Lady Magma
Oona Doherty
aSH
Aurélien Bory , Shantala Shivalingappa
Pasionaria
Marcos Morau
Play the Darkness
Yuichi Yokoï
Compagnie Mpta – Carnets de création
Mathurin Bolze
LOVETRAIN2020
Emanuel Gat
Extension
Amala Dianor , Junior Bosila
Point Zéro
Amala Dianor
Wo-Man
Amala Dianor
Zéphyr
Mourad Merzouki
Devant la Maison
Denis Plassard
Gloria
José Montalvo
Parole d’artiste : Jeanne Brouaye
Jeanne Brouaye
Zugzwang
Mathieu Bleton , Mosi Espinoza , Jonas Julliand , Karim Messaoudi , Cyril Pernot
One More Thing
Adi Boutrous
Elisabeth gets her way
Jan Martens
Hôtel Bellevue
Thomas Guerry
Avant les gens mouraient
(LA)HORDE and Céline Signoret
Publique
Mathilde Monnier
Danse des éléments
Cecilia Bengolea
Möbius &
Dai Jian , Xiao Xiangrong
État des lieux
Thomas Demay , Julia Moncla , Paul Changarnier
Näss
Fouad Boussouf
Placement libre
Thomas Demay , Julia Moncla
Umwelt
Maguy Marin
Concerto
Lucinda Childs
Parts
Honji Wang , Sébastien Ramirez
Tempo Vicino
Lucinda Childs
One of Four Periods in Time (Ellipsis)
Tânia Carvalho
Mood
Lasseindra Ninja
Lazarus
Oona Doherty
any attempt will end in crushed bodies and shattered bones
Jan Martens
Ineffable
Jann Gallois
L’Oiseau de feu
Thierry Malandain
Le Sacre du printemps
Thierry Malandain , Martin Harriague
Le Choeur
Fanny de Chaillé
Graces
Silvia Gribaudi
Body Concert
Kim Boram
Glottis
Flora Détraz
VanThorhout
Alexander Vantournhout
førm Inførms
Marco Da Silva Ferreira
Mythologies
Angelin Preljocaj
Le rapport au sol selon Tiago Guedes, avec le soutien de Harlequin Floors
Tiago Guedes
ab [intra]
Rafael Bonachela
Neighbours
Brigel Gjoka , Rauf “RubberLegz” Yasit
Le cours des choses
Christian Ubl
My Way
Rubén Julliard
Du bout des doigts
Gabriella Iacono , Grégory Grosjean
Jungle Book Reimagined
Akram Khan
Jungle Book Reimagined
Akram Khan
(La bande à) LAURA
Gaëlle Bourges
Working Title
Trisha Brown
For M.G: The Movie
Trisha Brown
NYST
Mellina Boubetra
Autoportrait à ma grand-mère
Patricia Allio
Elles disent
Nach
Deux mille vingt trois
Maguy Marin
Tumulus
François Chaignaud , Geoffroy Jourdain
La Ciudad de los Otros
Rafael Palacios
Contes Immoraux Partie 1 : Maison Mère
Phia Ménard
Toi moi, Tituba…
Dorothée Munyaneza
Reface
Chandra Grangean , Lise Messina
Témoin
Saïdo Lehlouh
takemehome
Dimitri Chamblas
WELCOME
Joachim Maudet
The Köln Concert
Trajal Harrell
Voice Noise
Jan Martens
Erato
Femke Gyselinck
Torpeur
Angelin Preljocaj
Noces
Angelin Preljocaj
Annonciation
Angelin Preljocaj
Impasse
Mufutau Yusuf
DUB
Amala Dianor
DUB
” For this creation, I will be recruiting urban dancers who are virtuosos of the new and changing dances that are currently developing in underground communities around the world and spreading everywhere via social networks. In association with composer Awir Leon, who will be present live, and visual artist Grégoire Korganow, I will be creating an ephemeral territory for these young people, designed as a meeting place, where they will be able to deploy their creative energy and the vitality of their dance for the duration of a performance.
DUB is not to be understood literally as a creation based on the music of this movement, but rather as a reference to the process of appropriation that is practised in this music, in urban dance and in my work in particular. This logic consists of using the quotation as a primary movement in order to propose its diversion, extension or rupture. Dub draws its musical tracks from acoustic reggae to distort it, bringing out the drums and bass, mixed with electronic sounds to create distant sonic spaces and new electro-atmospheric tonalities. I’m constantly experimenting with and developing this logic applied to movement in my creations. Here, the distortion will be twofold. The dancers have developed a body language that draws on the choreographic references of my generation. They offer them an initial extension opening up new dimensions, new fields. In turn, I want to modulate these new choreographies with the aim of connecting them to each other. I’ll be inviting the dancers to shift their practices, diffracting their techniques so that they can open up new spaces for collective creation, even more fluid, even brighter, even freer.”
Amala Dianor