David LePôle (1968, Château Thierry, France)

LePôle travaille sur le fil des accidents, des fractures, des bugs informatiques, vidéos. LePôle works on a string of accidents, broken parts, computer bugs, videos.>+++++++++[<+++++++++++>-]<[>[-]>[-]<<[>+>+<<-]>>[<<+>>-]>>>LePôle cherche , il cause, il triture les matières, les bits, les glitch, les formats. il sort des cadres. LePôle seeks, he talks, he grinds the materials, the bits, the glitch, the formats. He steps out of guidelines.[-]<<<+++++++++<[>>>+<<[>+>[-]<<-]>[<+>-]>[<<++++++++++>>>+ LePôle is unruly in multiple endeavours, poetic and fragile.-]<<-<-]+++++++++>[<->-]>>+>[<[-]<<+>>>-]>[-]+<<[>+>-<<-]<<LePôle improvises with suitcases full of improbable machines and generous visual surprises ...-]<<-<-]+++++++++>[<->-]>>+>[<[-]<<+>>>-]>[-]+<<[>+>-<<-]<<<

LePôle=numerikexperimentatatonnedebitengigaemotionnel.
LePôle=numerikexperimentatatonnedebitengigaemotional.

Mélanie Nézereau-Paquemar (1978, Chenôve, France)

A graduate of CNSMD Lyon (1995-1999), Melanie Nézereau Paquemar- has crossed the universe of Yvann Alexander, Robert Siegfried in collaboration with Suzanne Linke, Jacky Taffanel, Robert Connors and Loretta Yurrick at the National Dance Theatre of Ireland since the beginning of her career.In addition to her close collaboration with Jean-Baptiste Bonillo within the Post Partum Company including «Presumed Innocent» in 2001 and «Kill the Baby, Save the Food» in 2008, she trained in Ericksonian hypnosis which she currently practices as a professional.

Diplômée du CNSMD de Lyon (1995-1999), Mélanie Nézereau-Paquemar a traversé depuis le début de sa carrière les univers de Yvann Alexandre, Robert Siegfried en collaboration avec Suzanne Linke, JackyTaffanel, Robert Connors et Loretta Yurrick au National Dance Theatre of Ireland.En plus de son étroite collaboration avec Jean-Baptiste Bonillo au sein de la compagnie notamment dans « Présumée Innocente » en 2001 et « Kill the Baby-Save the Food » en 2008, elle se forme à l’Hypnose Ericksonnienne qu’elle facilite aujourd’hui en cabinet libéral.

Jean-Baptiste Bonillo (1977, Montpellier, France)

After his degree at the Conservatoire National Supérieur de Musique et de Danse de Lyon (1996-1999), Jean-Baptiste Bonillo danced and toured in the works of Tom Plischke and Dominique Boivin. He performed his first personal project « Moi, Personnellement, Je... »He collaborates with Mélanie Nézereau Paquemar whom he met at the CNSM. Together they conceived « Présumée Innocente ». Jean-Baptiste Bonillo has learned the skills of Specialized Kinesiology, Manual Global Therapy and Dr Bach Flower’s Remedies all of which he uses in his present activity as a professional. 

Urged by Daniel Larrieu’s advice, he began his company which he later bases in Montpellier. In 2008, Jean-Baptiste Bonillo began working on « Kill the Baby-Save the Food », a project for which he was selected for the European and Mediterranean Young Artists Bienal in Skopje – Macedonia in 2009. He is pursuing a research work on the «Palimpsest» with David Lepôle, videographer and Melanie Nézereau-Paquemar, interpreter and hypnotherapist at his side. This project has been selected by the 2010 « Looping » initiated by Uzès Danse (France), in cooperation withTanz Im August (Berlin) and O Espaço Do Tempo (Montemor-o-novo/Portugal)

Après ses études au CNSMD de Lyon (1996-1999), Jean-Baptiste Bonillo rencontre l’univers de Tom Plischke à Bruxelles et celui de Dominique Boivin à l’Opéra National de Lyon. Il signe un premier solo « Moi, Personnellement, Je... », work-in-progress qu’il reprendra en 2005. Il collabore avec Mélanie Nézereau-Paquemar rencontrée au CNSM de Lyon et conçoit avec elle en 2001 « Présumée Innocente ». Jean-Baptiste se forme à la Kinésiologie Spécialisée et aux Fleurs de Bach qu’il pratique aujourd’hui en cabinet libéral. 

Sur les conseils bienveillants de Daniel Larrieu il fonde la Compagnie Post Partum qu'il implantera plus tard à Montpellier. En 2008, il signe « Kill the Baby - Save the Food », pièce qui sera sélectionnée pour la Biennale des Jeunes Créateurs d’Europe et de Méditerranée en 2009. Il poursuit son travail de recherche sur le « Palimpseste » en collaboration avec David LePôle vidéaste et Mélanie Nézereau-Paquemar, interprète et hypnothérapeute. Ce projet est sélectionné en 2010 par «Looping », initié par Uzès Danse, en partenariat avecTanz Im August (Berlin) et O Espaço Do Tempo (Montemor-o-Novo/Portugal).

CLARK (Warp Records, UK)

Sound Composition & Installation | Tilted Fawn | Melanie Lane (D)

CLARK, born in London, has worked with music and sound for over 10 years. He records for the label Warp (UK), for whom he has released 5 albums and 6 e.p.'s. His records are released with international success and his live sets have toured throughout Europe, Asia, Australia and the United States. His work with LOOPING choreographer Melanie Lane (D) started last year with a score for HELD.

Whilst his work for Melanie Lane is traceable back to the artist who has contributed this body of work music for Warp, the music created for HELD and LOOPING production TILTED FAWN simultaneously offers a radical departure, and a new fresh sense of space.

It is a bold, uncompromising and radical departure from his usual “known” work, and represents the first in a series of liberated, fully committed sonic explorations into the world of performance art.

WEB: http://www.myspace.com/throttleclark

Victor Hugo Pontes

Born in 1978 in Guimarães, Portugal. BA in Fine Arts & Painting by Faculdade de Belas Artes da Universidade do Porto (Oporto University, Fine Arts School). Norwich School of Arts & Design in Norwich, UK, 2001. Drama courses at Balleteatro Escola Profissional and Teatro Universitário do Porto. Choreographical Research and Creation course at Forum Dança, Lisbon, 2003. Theatre Direction course, directed by Third Angel at Fundação Calouste Gulbenkian, Lisbon, 2004. “Projet Thierry Salmon” La Nouvelle École des Maîtres, directed by Pippo Delbono, Belgium and Italy, 2006.  

As a performer, worked with Moncho Rodriguez, Joclécio Azevedo, João Garcia Miguel, Nuno Carinhas, João Paulo Costa, Ana Luísa Guimarães, Lígia Pape, Jack Souvant, Isabel Barros, Mário Afonso, Alberto Magno, Elisabete Magalhães, Mathilde Monnier, Clara Andermatt, Charlie Degot, Vera Santos, among others.

As a director and choreographer, created Puzzle (Festival da Fábrica / 2003), Voz Off - «Voice Off» (NEC – Quadros de Dança / 2003), Laboratório - «Laboratory» (Fundação Calouste Gulbenkian / 2005), 100 Palavras - «100 Words» (co-created with Wilma Moutinho, NEC – Inter.faces / 2005), Ícones - «Icons» (2006), Voyeur (NEC – Quadros de Dança / 2006), Fotomontagem - «Photomontage» (NEC / 2006), Ensaio - «Rehearsal» (Fundação Calouste Gulbenkian / 2007), Manual de Instruções - «Instructions Manual» (CCVF / NEC / O Espaço do Tempo / 2009) e Vice-Versa (Teatro Maria Matos / CCVF / Teatro Viriato / Teatro do Campo Alegre / NEC / 2010).  

As assistant director, worked with Nuno Cardoso in: Woyzeck, by Georg Buchner (2005); Plasticina, by Vassili Sigarev (2006), Platónov, by Anton Tchékhov (2008), all produced by Teatro Nacional S. João (Oporto National Theatre); Richard II e R2, by William Shakespeare, produced by Teatro Nacional D. Maria II (Lisbon National Theatre / 2007); The Good Person of Szechuan, by Bertolt Brecht, produced by Centro Dramático Galego / Spain / 2008; Menagerie du Verre, by Tennessee Williams, produced by Ao Cabo Teatro / 2009.  

Since 2005 works as set up designer for the pop/rock music band Clã. In 2008 directed, with Helder Gonçalves, the videoclip Amuo, for the same band, and in 2009 directed the concert/show Barbie Suzie Dolly Polly Pocket, at Teatro Nacional S. João.  

Since 2003 is regular teacher at the Theatre and Dance Graduation Course, Balleteatro Escola Profissional (Porto). Between 2003 and 2006 was selected as «Young Talent» in Portugal, at the contest Jovens Criadores («Young Artists»). In 2005 represented Portugal at Repérages – Rencontres Internationales de la Jeune Choréographie, Lille, France. In 2007 was awarded the first prize, with the dance piece Ícones - «Icons», by No Ballet – 2nd International Choreography Competition Ludwigshafen, Germany. In 2008 represented Portugal at the Europe and Mediterranean Young Artists Bienal, Bari, Italy. Recently integrates the cast of L'Européene, written and directed by David Lescot, and produced by Théâtre de La Ville (Paris) / Napoli Teatro Festival (Naples). Simultaneously, was selected by Intradance Project to direct the Russian company Liquid Theatre, in a show presented in May 2010, in Moscow, called Far Away From Here. Selected LOOPING Choreographer 2010, creating "Rendez-vous".

www.victorhugopontes.blogspot.com
 

Ligía Teixeira (P)

Hélène Sorin (F)

Susanne Ogan (D)

Joana Ventura (P)

Emmie Cacace (F)

Doreen Markert (D)

Since 2007, Doreen Markert works freelance behind the scenes of contemporary dance productions - focusing on Public Relations, Fundraising and Management. Additionally, she is a project manager in the Department for Digital Media and Education at the University of Potsdam, Germany. Both fields are knotted through her interest in social media, collaborative settings, networking, open education and changing work methods and life styles in the contemporary global village.

Between 2007 and 2009, Doreen has been a PR manager for performing arts productions at Tacheles Berlin, there working for Christoph Winkler, wee dance company, NORDWIND FESTIVAL, Régine Chopinot, HelsinKISSBerlin Festival, Howard Katz, Tomi Paasonen, Melanie Lane and others. At the same time, she realized specific PR campaigns for Nomade~s|Japanese Contemporary Dance, Giacomo Calabrese, Norman Douglas & Co., Anna Melnikova and Grinberg Method Berlin.

Meeting American choreographer Clint Lutes in 2008 sparked the beginning of an inspiring working partnership that has culminated in mutual productions and projects. Moreover, Doreen joined LUCKY TRIMMER in 2008, taking charge of PR and Management for this choreographic platform initiated by Clint Lutes.

In 2010, TanzWerkstatt Berlin elected Doreen for the LOOPING project of the European Commission, working as cultural manager for Melanie Lane’s new production “Tilted Fawn” which will be presented at TANZ IM AUGUST in Berlin and elsewhere. Furthermore, Doreen is coordinating all six LOOPING productions in terms of public relations activities for TANZ IM AUGUST 2010.

Kontakt: doreen_markert [ @ ] yahoo.de
http://enthusiasticencounters.wordpress.com

Sandra Z. (EST)

 
It's time

choreography... Sandra Z.
interpretation... Sandra Z. & Alissa Šnaider
music... Taavi Tulev/ Wochtzchee
costume designer... Tuuli Antsov
production... Kanuti Gildi SAAL
duration... 30 min.

A physical theatre/contemporary dance performance were we’ll try to capture the dynamics of a concert - a musical masterpiece, like Vivaldi « The 4 seasons ». After a concert you never ask what it was about or why one harmony follows another the way it did : no social or political plot, all the visual effects are strictly personal and undescribable in any other way. It’s time. It’s time to notice. It’s time to notice others.

Ayşe Orhon (TUR)

 
hava’nın a’sı - [a:] of air

choreography and performance... Ayse Orhon
artistic assistance... Ayse Draz, Ahmet Altınel
light design... Jiv Wagner
duration... 30 min.
thanks to... Gülsün Orhon, Aslı Mertan, Bülent Aksoy, Ömer Aygün, Nik Haffner, Gurur Ertem, Çatı (Contemporary Dance Association), CNDC Angers, GarajÎstanbul

« After the performance piece harS -a duet with a harp- I remembered my past engagements in music. Especially the musical days of my childhood that family and friends would gather to play and sing together Turkish Classical Music, every two weeks for many years. Different “Gazel’s” -a form of writing in literature which is also a form of music- fascinated me in the detail they contain within and the melancholy they carry. I wanted to explore the interrelation between voice/sound and movement, how their shapes effect each other and study the use of air as the carrier of sound as well as of movement. This is an attempt to expose how the air is transformed within the body to render visible what is invisible. »

H. Heisig/I. Mueller/N. Lucas (D)

 
What comes up / must go up

choreography and interpretation... Hermann Heisig, Irina Mueller & Nuno Lucas
artistic advisor... Miguel Pereira
duration... 30 min.

What comes up/must go up puts human desires for growth, expansion and progress into a circus atmosphere. Three people create a continuous movement of extraordinary optimism constantly having to keep things up, keeping it moving. They put themselves in a situation where no failure is possible. Embracing cheating and extra effort, they try to avoid that something goes down, gets less, fails or falls. How to bridge elegantly the embarassment that could follow a failure? How to make things go up again, as if they never fell?

Ana Catalina Gubandru (RO)

 
I don't know, I've never been here before

concept and interpretation... Ana Catalina Gubandru
artistic advisor... Geneviève Vincent
duration... 30 min.

The idea behind this creation comes from the expression « mind the gap » (message heard in the British underground). Ana Catalina Gubandru seeks to question the notion of space, of space between : the gap between people, between the artist and his public, the space between anything and anything else. How can movement fill or on the contrary deepen this space, how can it be measured ?

Sofia Dias & Vítor Roriz (P)

Unfolding


concept and performance | Sofia Dias & Vítor Roriz
original sound | Sofia Dias
text | Sofia Dias & Vítor Roriz, partly based "On the shortness of life" by Seneca (4 BC – 65 AD). Spoken in English.
scenography | Sofia Dias & Vítor Roriz
light design | Nuno Borda de Água
production | O Espaço do Tempo, Sofia & Vítor
with thanks to | Anatol Waschke, Meg Stuart, Maria Ramos

Unfolding was started in the context of project Looping. During Looping, Unfolding had the collaboration of Joclécio Azevedo and the production assistance of Lígia Teixeira.

lenght | aprox. 24 min.

Unfolding is the action of disclosing, of gradually revealing something. A mysterious moment is implicit : expectations rise as the object is uncovered. In the moment just before the object is recognized we attempt to postpone revelation and prolong our expectations. The body, in its imminence of revelation, assumes the dimension of our imagination and experiences a metamorphosis.

current presentations | 2011:

* Negócio ZDB (Lisbon/28, 29, 30 April 2011)

past presentations | 2009 - 2010:

* Circular Festival (Vila do Conde, PT/Oct 2010).
* Festival Materiais Diversos (Minde, PT/Sept 2010).
* Appleton Square (Lisbon, PT/Oct 2009).
* Tanz im August (Berlin, DE/Aug 2009).
* Festival UZÈS DANSE (Uzès, FR/Jun 2009).
* Black Box, O Espaço do Tempo (Montemor-o-Novo, PT/Jun 2009).
* CEA/CPAI - Fábrica da Pólvora (Oeiras, PT/Apr 2009).

About their collaboration

Sofia Dias and Vítor Roriz collaborate since 2006. Until now, they have presented: 25, Visegradska (2006); Under(the)line (2006); Sand Castle (2007), Involuntariamente (2007), Again from the beginning (2009), Unfolding (2009) and O mesmo mas ligeiramente diferente (C.Instável 2010). Their works have been presented in Portugal, Spain, Switzerland, France and Germany. They are associated artists from O Espaço do Tempo and count on the regular support of Bomba Suicida.

Unfolding is available for touring

please contact:
sofiadiasvitorroriz@gmail.com
+351 919 446 598 | +351 934 173 106

+ info | www.sofiadiasvitorroriz.blogspot.com

Elsa Decaudin (F)

 
Liki

dance and direction... Elsa Decaudin
photography... Bastien Defives
music and light... Jean-Philippe Lambert
the soundb1ts dispositif for the sound field design (version 10)... Norbert Schnell, Emmanuel Flety et Jean-Philippe Lambert (Interactions Musicales Temps-Réel IRCAM - Centre Pompidou)
realization... PULX à la Tannerie
artistic advisor... Jutta Hell
thanks to... Robin Minard, Roland Cahen, N-ZO
duration... 40 min.

Liki is an invitation to the travel, the élan and the roving. As a score for three interpreters and their mediums, the piece plays with dance, slide show, music and a special sound field design. The multiplicity of the crossing stimuli trains urgently the spectator to see, to hear and to live the movement, as an immobile traveller in his own perception. Liki offers a panel of sensation, an intensity continuum until the final experience of the inertia.