Set and Reset / Reset [extrait-transmission 2017]

Extrait remonté par la compagnie De l’Air dans l’Art (Longjumeau), responsables artistiques Ghislaine Tétier et Philippe Chevalier dans le cadre de Danse en amateur et répertoire (2016)

An extract remodelled by the company De l’Air dans l’Art (Longjumeau), artistic managers Ghislaine Tétier and Philippe Chevalier as part of the “Danse en amateur et repertoire” programme (2016) (a programme created to assist and promote amateur dancing).

The group
In 2008, Ghislaine Tétier, a teacher and choreographer, started up the company l’Air dans l’Art in Longjumeau (91). The group brings together amateurs and students in connection with the Paris-Sud-Orsay University. It has already carried out many recreations of works such as Rien ne laisse présager de l’état de l’eau by Odile Duboc in 2009, and Jours étranges by Dominique Bagouet in 2013. Ghislaine Tétier also stages her own works with the company consisting of some twenty dancers. 

The project
Remodelling an extract from Set and Reset (1983) is not merely learning steps in the spirit of Trisha Brown’s work. The aim is, alongside the danced phrases, to incorporate the composition process of the American choreographer while surfing on the rules of the game like “remain simple, play with visibility and invisibility, stay on the edge of the stage or act instinctively…”

For the group’s dancers, this challenge confronting improvisation and writing was one of the reasons for their choice. Romain Panassié and Fabien Monrose, notators, transmit the keys of gestural production according to the self-named “abstraction locomotive”. 

The choreographer
The American choreographer Trisha Brown (1936-2017), at the head of the Trisha Brown Dance Company since 1970, enjoyed an exceptional career starting in the 1960s. After a passage through post-modern performance and experimentation and then through pure writing for the theatre black box and opera staging, this woman of character also carved out a flexible and sharp-edged writing style with swing and complexity, which “uses democratically all parts of the body”. Collaborator with the visual artists Robert Rauschenberg and Donald Judd, she leaves behind her a key legacy, in which her vigorous imagination has never ceased to contaminate the new generations.