AGENDA - SEPTEMBER, OCTOBER, NOVEMBER, DECEMBER
Paris Performance Calendar is a work-in-progress “dance syllabus”, complemented by essays, articles and interviews from The Best American Poetry and other publications. Below are Paris Performance Calendar's AGENDA & VENUES, featuring selected upcoming or current shows. Click to consult PERFORMANCES & CREATORS TO WATCH, which features reviewed dance pieces, dance-performances and other performances, along with short biographies of associated choreographers, performers and other creators.
Please note that there may be more than one date and venue for a listing. Click on the link for the sponsor in the heading to find other dates and places. For Danseaujourdhui recommendations, click on Danseaujourdhui recommendation → for more information.
ANNE TERESA DE KEERSMAEKER & MUSIC & DANCE & DANCE & MUSIC
As a complement to the Festival d’Automne’s selection of Anne Teresa de Keersmaeker’s oeuvre, I've added added a few general recommendations from Catherine Zavodska, a long-time admirer and observer of de Keersmaeker’s work, to be sure, but also a fine dance & performance commentator and president of the dance & performance appreciation association Danseaujourdhui, which facilitates performance ticketing and provides other culture services.
Zavodska makes Karlheinz Stockhausen’s 1974 orchestral composition Inori - 祈り (“Adorations”) her kick-off recommendation for Fall 2018, noting it as a key to understanding development in choreography and music. Stockhausen, a peer of John Cage, Pierre Boulez and Luigi Nono, believed that Inori - 祈り demonstrated a music descriptive of an exact gestural (danced) counterpart and claimed that his piece demonstrated a definite link between musical structure and visual structure.
Indeed, it’s pretty easy to spot a growing sophistication and complexification of the relationship between music and dance, even if citing only Merce Cunningham’s focus on pure movement or Lucinda Childs’ fascination with space and place. And since the 70s especially it is incontestable that dance – whoever is doing it and wherever they are doing it - has increasingly affirmed itself as anAt the time, Inori and Stockhausen’s sense of what it meant were seen as part of a larger movement in contemporary dance performance and Alain Louafi, a member of Maurice Béjart’s Ballet du XXème siècle company, danced it (as a solo – it was subsequently revised as a duo) at its première at the third Festival d’Automne in 1974.
independent “art of movement”.
Although she is so much associated with music, especially contemporary music, Anne Teresa de Keersmaeker’s search for dialogue between choreography and music makes a strong contribution to the affirmation of the independent art of movement. When she said that music taught her everything it is clear she meant “about dance being an independent structure” – the dialogue is between co-equals (see, especially, Fase, four movements to the music of Steve Reich).
Developments in contemporary music have also contributed to dance’s self-affirmation. In a 2013 interview de Keersmaeker observes, “What I am looking for are ways to make the audience perceive the dancing quality hidden in [contemporary music]… The alliance between contemporary music and dance is much more problematic: it goes beyond the immediate relationship that can be intuited between the properties of sound and movement.
So, yes. Musical and dance structures are linked. Stockhausen’s Inori is a good place to start and Festival d’Automne 2018’s Portrait of Anne Teresa de Keersmaeker’s is an opportunity for thinking it over.
Danseaujourdhui recommendation → INORI - 祈り (ADORATIONS) • 1974 • Karlheinz Stockhausen • 75 minutes • Philharmonie de Paris – salle Pierre Boulez, Paris, 14 September, 20h30 • Danseaujourdhui 2018 • Α Contemplate the complex links that have developed between music and dance in the post-war period - “Inori is key to all the development in choreography and dance performance… showing that there is a true link between musical and visual structures.” Ω Composer: Karlheinz Stockhausen: Inori - 祈り (Adorations), for one or two soloists and large orchestra / Performers (Dancer-mimes): Emmanuelle Grach, Jamil Attar / Music: Orchestra of the Lucerne Festival Academy, Gergely Madaras, conductor
VIOLIN PHASE • 1981 • Anne Teresa de Keersmaeker • 15 min • Lafayette Anticipations, Paris, 15 September: 15h, 17h, 19h • Festival d’Automne - Lafayette Anticipations Echelle humaine 2018 • Α Extracted from Fase, Four Movements to the Music of Steve Reich, in dancing the celebrated process musician’s “Violin Phase”, de Keersmaeker is taking 15 minutes to renew her interpretation in light of 37 years of experience of listening, rehearsing and performing. Her physically powerful dance takes over the music, in some sense, becomes the music, showing the subtle harmonic transformations of climbing into and out of synch that so tease and trouble the ear and brain. Ω Concept: Thierry De Mey / Choreography Anne Teresa de Keersmaeker / Performer: Anne Teresa de Keersmaeker / Music: Steve Reich, Violin Phase (1967)
ALREADY UNMADE • 2016 • Andros Zins-Browne • Lafayette Anticipations, Paris • Festival d’Automne/Lafayette Anticipations-Echelle humaine 2018, 17, 18, 19 September, repetitive, 11h - 20h Α Andros Zins-Browne works at the intersection of installation, performance and dance with particular attention to the interpretation of images. Already Unmade deconstructs the physical memory of a learned choreography Ω Concept: Andros Zins-Browne / Performers: Jaime Llopis, Sandy Williams, Andros Zins- Browne / Production: The Great Indoors
A LOT OF MOVING PARTS • 2017 • Eleanor Bauer • 60 min • Lafayette Anticipations, Paris 4ème • Festival d’Automne/Lafayette Anticipations-Echelle humaine 2018, 20-21 September, 20h Α Eleanor Bauer explores how writing locates in the practice and traditions of dance. A lot of moving parts uses dance accompanied by poetry and poetry accompanied by dance to explore the frictions and collisions between dance and language. Ω Concept, choreography & text: Eleanor Bauer / Performer: Eleanor Bauer / Costumes: Sofie Durnez / Lights: Jonatan Winbo / Production: GoodMove vzw
7 (SEVEN) • 2017 • Radouan Mriziga• 77 min • Lafayette Anticipations • Festival d’Automne/Lafayette Anticipations-Echelle humaine 2018, 22, 23 September, 15h & 18h Α Radouan Mriziga constructs dance through choreographic interpretation of the built environment, most often using the human body as the measure of architectural space and volume. Adapated from a pre-existing trilogy for the Lafayette Anticipations spaces, 7 brings its performers together around the relationship of the human body and the Seven Wonders of the World. Ω Concept & Choreography: Radouan Mriziga / Performers: Radouan Mriziga, Maïté Jeannolin, Zoltán Vakulya, Bruno Freire, Eleni- Ellada Damianou, Lana Schneider, Suhad Najm Abdullah / Visual
SLOW WALK • 2016 • Anne Teresa de Keersmaeker • +/- 240 minutes • Place de la République, 23 September (Gathering places & times o be announced) • Festival d’Automne 2018 • Α The idea behind Slow Walk is to turn ordinary moments into intentional and unique movement; walking, de Keersmaeker’s Rosas troupe believes, is the purest form of dance. First tried in during Brussels 2016 Dance Day, the objective of Slow Walk is to “meditate” the urban environment and re-appropriate it. Several groups of dancer-walkers will set off from different departure points, advancing at an average speed of under five meters per minute to converge at workshop led by de Keersmaeker and Rosas performer and P.A.R.T.S. students. Ω Choreography : Anne Teresa De Keersmaeker / Music : Steve Reich : Piano Phase (1967), Come Out (1966), Violin Phase (1967) ; Clapping Music (1972) / Performers : (alternating) Yuika Hashimoto, Laura Maria Poletti / Laura Bachman, Soa Ratsifandrihana / Lights: Rémon Fromont / Costumes: Martine André, Anne Teresa De Keersmaeker / Production : Schaamte vzw; Avila vzw
ROSAS DANST ROSAS • 1983 • Anne Teresa de Keersmaeker • 95 minutes • Centquatre, Paris, 10-13 October, 20.30h • Festival d’Automne 2018 • Α Rosas danst Rosas is a triumph for de Keersmaeker’s passionate dialogue with music and has become a reference point in the history of contemporary dance. Four woman performers (alternated from the current Rosas troupe) repeat and repeat ordinary-life gesture to dance themselves to the point of exhaustion (or are they maenads and is it ecstasy?) to music that is a cross between Steve Reich and electro-pop in a set that suggests an austere public school. Ω Choreography: Anne Teresa De Keersmaeker / Music: Thierry de Mey, Peter Vermeersch / Performers : Laura Bachman, Léa Dubois, Anika Edström Kawaji, Yuika Hashimoto, Laura Maria Poletti, Soa Ratsifandrihana / Lights : Rémon Fromont / Costumes : Rosas / Production: Rosas
ACHTERLAND • 1990 • Anne Teresa de Keersmaeker • 90 minutes • Maison des arts de Créteil (MAC Créteil), Créteil, 16-18 October, 20h • Festival d’Automne 2018 • Α With Achterland de Keersmaeker reifies the co-expression of dance and music by bringing the music on stage as a performer, an approach she continues to elaborate with such pieces as Drumming Live. Achterland is her first mixed-gender production, her first work with man performers and, with eight dance performers and two music-performers occupying a whole stage with movement, her first full-course ballet. Ω Choreography : Anne Teresa De Keersmaeker / Music : György Ligeti, 8 Studies for piano solo ; Eugène Ysaÿe, Sonatas 2, 3 & 4 for solo violin / Performers : Laura Bachman, Lav Crnčević, Léa Dubois, José Paulo dos Santos, Anika Edström Kawaji, Bilal El Had, Frank Gizycki, Robin Haghi, Yuika Hashimoto, Laura Maria Poletti, Soa Ratsifandrihana, Luka Švajda ; Pianist Wilhem Latchoumia, Violinists Juan María Braceras & Naaman Sluchin / Set: Herman Sorgeloos / Lights : Jean Luc Ducourt / Costumes : Ann Weckx / Production: Rosas
ZEITIGUNG • 2017 • Anne Teresa de Keersmaeker, Alain Franco, Louis Nam Le Van Ho • 90 minutes • Théâtre de la Ville – Les Abbesses, Paris, 10, 12, 13, 15, 16, 17 October, 20h; 11, 18 October, 16h• Festival d’Automne 2018 • Α “Zeitigung” – “incubation or “maturation” or simply “passing time” is a play on “Zeitung” – “times” as in “New York Times” – the title of a 2008 collaboration between Anne Teresa De Keersmaeker and the pianist Alain Franco that explored the combinations of music to dance and dance to music with choreographies intersecting with music from the contrasting concepts and approaches ranging from the classic icon J.S. Bach, to the transitional romanticism of Johannes Brahms, Arnold Schönberg to the insistently modern Anton Webern. We find here de Keersmaeker’s constant interest in the co-expression of music and choreography. In Zeitung, the Rosas company’s performance note declares that “…music and dance do not meet on the basis of any similarity or parallel, but on the intersection of the two.” With Zeitigung, de Keersmaeker and Franco revisit that intersection of music and dance in company with Louis Nam Le Van Ho, a coming choreographer, alumnus of de Keersmaekers’ P.A.R.T.S school and a member of her Rosas company, along with the participation of performers, with the intention of both building a bridge to the newer generation and continuing the earlier choreographic expostulation. Featured compositions include works from Bach’s Well-tempered clavier, Brahm’s 4th Symphony, Schönberg’s Six pieces for clavier and Anton Webern’s arrangement of Bach’s Fuga Ricercata a 6 voci. Ω Choreography: Anne Teresa De Keersmaeker & Louis Nam Le Van Ho / Music: Piano, Alain Franco / Performers: Lav Crnčević, José Paulo dos Santos, Bilal El Had, Frank Gizycki, Robin Haghi, Louis Nam Le Van Ho, Luka Švajda, Thomas Vantuycom / Lighting: Luc Schaltin, Anne Teresa De Keersmaeker / Costumes: Anne-Catherine Kunz / Production: Rosas
Danseaujourdhui recommendation → VERKLÄRTE NACHT (“La Nuit transfigurée” – “Transfigured Night”) • 2014 • Anne Teresa De Keersmaeker • 50 minutes • Théâtre de la ville – Espace Pierre Cardin, Paris, 20 October, 20h • Danseaujourdhui • Α Said to be Arnold Schoenberg’s first serious work, Verklärte Nacht (1899) is a homage to transformative power of love as told by Richard Fedor Leopold Dehmel (1863-1920) in his poem of the same name : … there is the glow of an inner warmth / from you in me, from me in you./That warmth will transfigure the stranger’s child,/ and you bear it me, begot by me./ You have transfused me with splendor,/ you have made a child of me… Originally created in 1995 for 14 dancers, de Keersmaeker iin 2014 redid the choreography as a “duo for three”, perhaps taking account of the absent presence of the father of the woman’s baby or the baby itself, co-highlighting narrative and music – keeping in mind that Schönberg himself made no effort to formalize his composition around the poem – Catherine Zavodska writes that the dance performance becomes a “…tense flood of drama, a scintillating mirror” … of the varying tone, pitch and strength of emotion. Verklärte Nacht throws light on the deep passion that lays behind the repetitive/hypnotic style of music the choreographer tends to choose and the severely-disciplined tension or apparent austerity that seems to me to characterize her dance performance. Ω Choreography: Anne Teresa De Keersmaeker / Performers: Boštjan Antončič, Nordine Benchorf, Cynthia Loemij, Mark Lorimer, Igor Shyshko, Samantha van Wissen / Music: Arnold Schönberg, Verklärte Nacht, op. 4 (recorded : Pierre Boulez & New York Philharmonic) with dramaturgy by Georges-Elie Octors, Alain Franco / Lighting, Luc Schaltin, Anne Teresa De Keersmaeker / Costumes: Rosas company & Rudy Sabounghi / Production: Rosas
Danseaujourdhui recommendation → SHELL SHOCK, A REQUIEM OF WAR • 2014 • Nicholas Lens - Sidi Larbi Cherkaoui – Nick Cave • 60 minutes • Philharmonie de Paris – salle Boulez, 11 November 2018, 16.30h • Danseaujourdhui • Α Walks like a duck, quacks like a duck, must be … a muskrat! Advertised as a “danced concert”, this piece by Sidi Larbi Cherkaoui, who, like Anne Teresa de Keersmaeker, comes from Belgium, and is also an alumnus of P.A.R.T.S, is as operatic as an opera can be… Cherkaoui – whose early works include successfully dealing with sensitive topics such as religion, diversity and inclusion, including Rien de Rien (2000) and Foi (2003), has more recently renewed ballet, with Casse Noisette, for the Opéra Garnier (2016) or written new ones such as BABEL (words) (2016) and Fractus V (2017). With Shell Shock, Cherkaoui choreographs and directs Nick Lens’ powerful linking of the first world war to today through the prism of personal experience. For better than 100 years now every combatant and non-combatant in every war, big and small, has shared either the direct experience or the effects on friends and family of “shell shock”, post-traumatic stress syndrome/disorder. Sure and smooth choreography on a coherent story on a gorgeous set, along with inventive and exciting music inevitably played well, ensure a good time… Maybe the first time somebody you love will enjoy opera. Cherkaoui is always a treat and so are Lens’ creations. Ω Director & choreographer: Sidi Larbi Cherkaoui, mise en scène, chorégraphie / Libretto: Nicholas Lens / Music : Nick Cave / Set : Eugenio Szwarcer / Costumes : Emmanuelle Erhart, Khanh Le Thanh / Lighting : Willy Cessa Musicians : Orchestre Philharmonique de Radio France, directed by Bassem Akiki ; Choeur de l'Opéra de Silésie ; Laurence Servaes, soprano ; Sara Fulgoni, mezzo-soprano ; Magid El-Bushra, contre-ténor ; Sébastien Droy, ténor ; Mark S. Doss, bass ; Soloists from the Trinity Boys Choir / Production: Compagnie Eastman
Danseaujourdhui recommendation → MITTEN WIR IM LEBEN SIND/BACH6CELLOSUITEN • 2017 • Anne Teresa De Keersmaeker • 120 minutes • Philharmonie de Paris - salle Boulez • 17 November 2018, 20h30 • Danseaujourdhui • Α Mitten Wir in Leben sind (mit dem Tod umfangen), “In the midst of life (we are in death’s embrace)”, is one of Martin Luther’s popular hymns to the strength of faith, as well as de Keersmaeker’s somewhat puzzling reference for this series of six dances for each of Bach’s Cello Suites (BWV 1007-1012). In understanding de Keersmaeker’s performance, which I think may be more emotional and less technical than her cool, clean presentations suggest, it might be interesting to note the biographical sense and in-built choreographic structure in the suites. They are written one a year over the six years from 1720 to 1725, in Bach’s prime composing years in a prosperous and happy life situation. Each of the suites, as was the practice in Baroque music, turns through six type-dance rhythms: prelude, allemande, courante, zarabande, galantries (minuets, bourrées or gavottes) and gigue (jig). The renowned cellist Jean-Guihen Queyras – whose set position changes with the choreography – joins de Keersmaeker herself and four others from her Rosas company as they search to express in movement the sense and feeling within these fluid compositions. Ω Choreography: Anne Teresa De Keersmaeker / Music: Jean-Guihen Queyras, cello, playing J.S. Bach, Cello Suites, BWV 1007-1012 / Performers: Boštjan Antončič, Anne Teresa De Keersmaeker, Marie Goudot, Julien Monty, Michaël Pomero / Lights: Luc Schaltin / Costumes: An D’Huys / Dramaturgy: Jan Vandenhouwe / Production: Rosas
VORTEX TEMPORUM • 2013 • Anne Teresa de Keersmaeker, ICTUS orchestra • 75 minutes • MC93– Maison de la Culture de Seine-Saint-Denis, 22, 23, 24 November, 20.30h • Festival d’Automne 2018 • Α As with Mitten Wir im Leben sind (see above) the musicians are performers, their movements as important to the choreography as that of the dancers. The Ictus ensemble is an experimental music collective dedicated to integrating technologies and evolving the concert format. De Keersmaeker told interviewer (and dance performer) Bojana Cvejić that she looks to make her audience perceive the dance quality hidden in contemporary music. “The sound space of Vortex“, she observes “… is vast in both refinement and contrast of extremes. I hear it full of movement, especially as regards the movements of contraction and dilation of time…. The potentiality of dance in this music is high… On the one hand, it stems from an abstract mathematical construction readible only in the score, which I find beautiful. On the other hand, it is anchored to the performance of the music, to the physical gestures of playing that reveal the relation between the musicians’ bodies to their instruments, as well as the consequence of sound from the concrete and raw materiality of the instrument that engenders it“. Ω Choreography: Anne Teresa de Keersmaeker / Music: Gérard Grisey, Vortex Temporum (1996) / Musical direction: Georges-Elie Octors / Musicians: Ensemble Ictus - Jean-Luc Plouvier (piano), Chryssi Dimitriou (flute), Dirk Descheemaeker (clarinet), Igor Semenoff (violin), Jeroen Robbrecht (alto), Geert De Bièvre (cello) / Musical dramaturgy: Bojana Cvejić / Performers: Boštjan Antončič, Carlos Garbin, Marie Goudot, Cynthia Loemij, Julien Monty, Michaël Pomero, and Igor Shyshko / Lighting: Anne Teresa De Keersmaeker, Luc Schaltin / Costumes: Anne-Catherine Kunz / Production: Rosas
A LOVE SUPREME • 2017 • Anne Teresa de Keersmaeker, Salva Sanchis • 50 minutes • Espace 1789, Saint Ouen, 22 November 20h • Festival d’Automne 2018 • Α I think Anne Teresa de Keersmaeker’s love affair with passion doesn’t get enough critical attention. Her marriage with music involves so much attention, respect and reason that it’s easy to overlook the orphic result on the dancer of her repetitive and precise movements. This collaborative remakewith Salva Sanchis - one of de Keersmaeker’s first-generation P.A.R.T.S alumni - and an all-man dance quartet, of a 2005 piece around John Coltrane’s 1965 warm jazz classic A Love Supreme is a chance to see the passion in plain day. Ω Choreography : Salva Sanchis, Anne Teresa De Keersmaeker / Music : A Love Supreme, John Coltrane / Performers : José Paulo dos Santos, Bilal El Had / Robin Haghi, Jason Respilieux, and Thomas Vantuycom / Lighting : Jan Versweyveld ; revised lighting design by Anne Teresa De Keersmaeker and Luc Schaltin / Costumes : Anne-Catherine Kunz / Production : Rosas
QUARTETT • 1999 • Anne Teresa de Keersmaeker - tg Stan theater company • 80 minutes • Centre Pompidou, Paris, 28 November - 1 Décember, 20.30h • Festival d’Automne 2018 • Α In English with French subtitles, this theatrical collaboration with the Flemish theater company tg Stan – of which de Keersmaeker’s sister Jolente is a principal – turns around the complex sexual and gender tensions highlighted in Heiner Müller’s 1980 play of the same name and perhaps throws some light on de Keersmaeker’s thematic preoccupations. Quartett is based on the French roman epistolaire, Liaisons dangereuses. Like the classic it turns on the different situations of two 18th-century libertines, the Marquise de Merteuil and the Vicomte Valmont. In Müller’s version, the two principals play their victims, Merteuil, Mmede Tourvel who really loves Valmont and is really loved by Valmont ; Valmont plays Cécile de Volanges, first raped then led into libertinage by the duplicitous friendship of Merteuil. Ω Conception : Anne Teresa de Keersmaeker, Jolente de Keersmaeker, Cynthia Loemij, Frank Vercruyssen / Text: Quartett, Heiner Müller / Performers : Cynthia Loemij, and Frank Vercruyssen / Set & lighting: Herman Sorgeloos, Thomas Walgrave / Costumes : An d’Huys / Production : tg STAN & Rosas
Danseaujourdhui recommendation → RAIN • 2001 • Anne Teresa De Keersmaeker • 75 minutes • Grande Halle de la Villette, 8 December 2018, 20h • Danseaujourdhui • Α Catherine Zavodska describes Rain as “refreshing, a tornado” and recommends this version by performers trained by de Keersmaeker at P.A.R.T.S as likely among the best of de Keersmaeker’s work to be presented this Fall. The Rosas website considers Rain, for 10 dancers, written against Steve Reich’s Music for 18 Musicians (1976) as a milestone in the choreographer’s career, reaffirming her search for pure dance. Rain is an abundance of minimal, repeated, insistent mathematical forms or geometries that create the same sensual fascination that you find in early solo works such as Fase. Ω Choreography : Anne Teresa De Keersmaeker / Music : Steve Reich, Music for 18 Musicians / Performers : Laura Bachman, Léa Dubois, Anika Edström Kawaji, Zoi Efstathiou, Yuika Hashimoto, Laura Maria Poletti, Soa Ratsifandrihana, Frank Gizycki, and Robin Haghi / Lav Crnčević, and Luka Švajda / Musical direction : Georges-Elie Octors / Musicians, Ensemble Ictus – Miquel Bernat, Tom De Cock, Géry Cambier, Michael Weilacher, Jessica Ryckewaert (percussion) ; Gerrit Nulens, Georges-Elie Octors (percussion and piano) ; Laurence Cornez, Fabian Fiorini, Jean-Luc Fafchamps, Stéphane Ginsburgh (piano) ; Dirk Descheemaeker, Carlos Galvez (clarinet) ; Igor Semenoff (violin) ; Geert De Bièvre (cello) ; Synergy Vocals – Micaela Haslam, Amanda Morrison, Heather Cairncross, Caroline Jaya-Ratnam (voices) / Set and lighting : Jan Versweyveld / Costumes, Dries Van Noten / Production: Rosas
Danseaujourdhui recommendation → GISELLE • 2016 • Dada Masilo • 70 minutes • Grande Halle de La Villette, 18 December 2018, 20.00h • Danseaujourdhui Α Catherine Zavodska expects Dada Masilo’s Paris performance of Giselle to go beyond simple mold-breaking to renewal of a beloved classic. Masilo’s renewal, she says, is “opposite to Rudolf Nureyev and has nothing of Alvin Ailey” in it. As thoroughly trained in classic and contemporary dance as it’s possible to be, she says, Masilo’s interpretation is rooted in her county and her cultural intelligence. Indeed, the ballet moves quickly and theatrically, at the pace of music that has much of emotion and little of romantic bathos. Ω An alumna of Anne Teresa De Keersmaeker’s P.A.R.T.S., Dada Masilo was born in 1985 in Soweto, just a few years before the end of apartheid (as race segregation was called in South Africa). She began formal training in contemporary and classical dance at 11. Giselle is the fourth production in her steady reworking of the western classical canon, following on Romeo and Juliet (2008), Carmen (2009) and Swan Lake (2010) since forming her own troupe in 2008. In addition to integrating African dance tropes such as hand-clapping or bare-footed stomping with the usual pirouetting and arabesquing, Masilo plays with gender roles (Swan Lake is 100% men), reworks the music and highlights contemporary social themes such as HIV-AIDS, while keeping to the traditional libretto. According to La Villette’s note, Giselle stays true to the classic story rollout but moves the choreographic focus from the loyalty of true love to the piece’s strong emotions of anger, grief, sadness and vengeance and backs it up with music by her countryman Peter Miller which adds African-inspired beat and voice to Adolph Adam’s throbbing melodies.
Atelier de Paris - Carolyn Carlson / Telephone: +33 1 41 74 17 07 / Address: Route du Champ de Manoeuvre, 75012 Paris, France / From Châtelet – Simplest: Métro Line 1 to the station Château de Vincennes, take Bus 112 to the stop "Cartoucherie", walk into the campus. Google directions Reserve
Le Colombier (theater) / Telephone +33 1 43 60 72 81 / Address : 20 rue Marie-Anne Colombier, 93170 Bagnolet / From Châtelet – Simplest: about 40 minutes : Métro Line 11 to the station Arts et Métiers, change to the Line 3 to the Gallieni station, walk about 10 minutes. Google directions Reserve
CN D - Centre national de la danse (institution-faculty) / Telephone +33 1 41 83 98 98 / Address: 1, rue Victor-Hugo, 93507 Pantin / From Châtelet – Simplest: about 40 minutes : Métro Line 1 to the station Porte de Vincennes, change to the Tram 3B, get off at the stop "Delphine Seyrig", walk about 5 minutes. Google directions Reserve
Espace Michel-Simon (theater) / Telephone +33 1 49 31 02 02 / Address : 36 Rue de la République, 93160 Noisy-le-Grand, France / From Châtelet – Simplest: about 40 minutes : RER Line A, direction Gare de Torcy, to the station Noisy-le-Grand - Mont d'Est, walk about 10 minutes. Google directions Reserve
Grande Halle de la Villette (auditorium - institution - park) / Telephone +33 1 41 83 98 98 / Address: 211 avenue Jean-Jaurès, 75019 Paris / From Châtelet – Simplest: about 40 minutes : Métro Line 7 to the station Porte de Pantin, walk about 3 minutes. Google directions Reserve from a public ticket seller
MAC Créteil – La Maison des arts et de la culture André-Malraux – (cultural center) / Téléphone +33 145 131919 / Address : 1 Place Salvador Allende, 94000 Créteil / From Châtelet – Simplest: about 50 minutes Métro Line 1 to the station Reuilly-Diderot, change to the Line 8 and go to the station Créteil - Préfecture, walk about 5 minutes through the mall to Porte 25, walk straight ahead, following the signs, about 5-10 minutes. Coming back : Take the free shuttle to Bastille or Chatêlet or go out of the theater and across the place Allende to Allée de la Toison d'Or and walk to Porte 26 of the mall, the métro is in front of you. Google directions Reserve
MC93 – Maison de la Culture de Seine-Saint-Denis – (cultural center) / Telephone +33 1 41 60 72 72 / Address : 9 boulevard Lénine 93000 Bobigny, France / From Châtelet – Simplest: about 50 minutes Métro Line 1 to the station Bastille, change to the Line 5 to the station Bobigny-Pablo Picasso, walk about 5 minutes. Google directions Reserve
L'Embarcadère (performance space) / Telephone +33 1 48 11 20 35 / Address : 5 Rue Edouard Poisson, 93300 Aubervilliers, France / From Châtelet – Simplest: about 40 minutes Métro Line 7 to the station Aubervilliers-Pantin –Quatre Chemins, walk about 15 minutes. Google directions Reserve from a public ticket seller
Nouveau théâtre de Montreuil - salle Jean-Pierre Vernant (auditorium) / Telephone +33 1 48 70 48 90 / Address : 10 place Jean-Jaurès, 93100 Montreuil / From Châtelet – Simplest: about 30 minutes : Métro Line 1 to the station Nation, change for Métro Line 9 to the station Mairie de Montreuil, walk about 2 minutes. Google directions Reserve
Nouveau théâtre de Montreuil - salle Maria Casarès (auditorium) / Telephone +33 1 48 70 48 90 / Address: 63 Rue Victor Hugo, 93100 Montreuil, France / From Châtelet – Simplest: about 30 minutes : Métro Line 1 to the station Nation, change for Métro Line 9 to the station Mairie de Montreuil, walk about 2 minutes. Google directions Reserve
Théâtre de la Bastille (theater) / Telephone +33 1 43 57 42 14 / 76 Rue de la Roquette, 75011 Paris, France / From Châtelet – Simplest: Métro Line 1 to the station Bastille, take the exit "Rue de la Roquette", walk about 5 minutes. Google directions Reserve
Espace 1789 (theater and cinema) / Telephone +33 1 40 11 70 72/ Address: 2-4 Rue Alexandre Bachelet, 93400 Saint-Ouen, France / From Châtelet – Simplest: about 50 minutes : Métro Line 1 to the station Champs Elysées- Clémenceau, change for Métro Line 13 to the station Garibaldi, take exit 3, rue Charles Schmidt, walk about 5 minutes. Google directions Reserve: +33 1 40 11 70 72 or email: firstname.lastname@example.org
Lafayette Anticipations (performance center) / Telephone +33 1 57 40 64 17 / Address: 9 rue du Plâtre 75004 Paris, France / From Châtelet – Simplest: About 10 minutes all together, go to the Hotel de Ville, with the BHV in front of you, cross the street, walk up the rue du Temple about 4 minutes, the rue du Plâtre is on the left. Google directions Reserve
Philharmonie de Paris - Grande salle Pierre Boulez (concert hall) / Telephone +33 1 44 84 44 84 / Address: 221 Avenue Jean Jaurès, 75019 Paris, France / From Châtelet – Simplest: about 30 minutes : Métro Line 11 to the station République, change for Métro Line 5 to the station Porte de Pantin, take exit 2, Sentier des Dorées, you’ll see it across from you, to the right in the Cité de la musique, about 3 minutes. Google directions Reserve
Théâtre de la ville - Les Abbesses (theater) / Telephone +33 1 42 74 22 77 / Address: 31, Rue des Abbesses , 75018 Paris, France / From Châtelet – Simplest: about 30 minutes : Métro Line 14 to the station Madeleine, change for Métro Line 12 to the station Abbesses, take the rue des Abbesses exit, about 3 minutes. Google directions Reserve
Théâtre de la Ville – Espace Pierre Cardin (theater) / Telephone +33 1 42 74 22 77 / Address: 1 Avenue Gabriel, 75008 Paris, France / From Châtelet – Simplest: about 10 minutes : Métro Line 1 to the station Concorde, take exit Place de la Concorde, côté impairs, across from the heavily protected American Embassy, in the park, walk about 3 minutes. Google directions Reserve
Le Centquatre-Paris (performance center) / Telephone +33 1 53 35 50 01 / Address: 5, rue Curial, 75019 Paris, France / From Châtelet – Simplest: about 20 minutes : Métro Line 7 to the station Riquet, take exit 1, rue Riquet walk about 10 minutes. Google directions Reserve