6 - 9 January 2011
* the number of the piano keys
Josef Nadj’s starting points for <em>Cherry-Brandy</em> were a text by Anton Chekhov and Osip Mandelstam's poems. Αlthough the award-winning choreographer often tackles subjects and/or works traditionally held to be the preserve of the theatre, he considers his work to be contemporary dance.
Concs 10 - 15 €
With roots in the visual arts and the circus and experience of mime, acting, the martial arts and improvisation, Josef Nadj
’s starting point for Cherry-Brandy
was a text by Anton Chekhov which deals primarily with time, the past and memory. The hero of The Swansong
, which Chekhov wrote in 1886-87, is an old comedian left all alone in a dark and empty theatre. Nadj’s reading of the work focuses on the heavy, memory-laden atmosphere of the “black box”, meaning the empty stage which is projected here as a black hole, a bottomless grave in which the ghosts of a spent life dwell.
As in his 1994 production of Georg Büchner’s Woyzeck
, Nadj has no interest in translating plot into choreography, preferring to read between the lines and convey the profound issues he finds there in fragmentary fashion. Moreover, although the award-winning choreographer and artistic director of the Centre Chorégraphique National d’Orléans often tackles subjects and/or works traditionally held to be the preserve of the theatre, he considers his work to be contemporary dance. This allows him to mix media and techniques and, as he puts it, “free-fall into the magic world of images”.
, which Nadj was commissioned to create for a 2010 programme encouraging Franco-Russian collaborations, allows the choreographer to return along with 12 performers to the archetypal theatre, to play with the boundaries between reality and illusion and to eavesdrop on the pregnant loneliness and darkness of its space. He uses an abstractive, pared-down theatrical idiom to present a series of images whose philosophical and metaphorical hue reconnect us with the very roots of the theatrical art.
Choreography: Josef Nadj
Original Music: Alain Mahé
Piano Recording and Toy Piano: Emmanuelle Tat
Lighting Design: Rémi Nicolas, assisted by Lionel Colet
Sets, Props and Stage Objects: Clement Dirat and Julien Fleureau
Conception and Execution of Masks and Props: Jacqueline Bosson
Costumes: Françoise Yapo
Performers: Johan Bichot, Ivan Fatjo, Eric Fessenmeyer, Grégory Feurté, Peter Gemza, Anastasia Hvan, Panagiota Kallimani, Anne-Sophie Lancelin, Lazare, Cécile Loyer, Josef Nadj, Emanuela Nelli, Marlène Rostaing
Materials and Musical Works from: Franz Schubert, John Cage, György Kurtág, Mussorgski, Bellini, Janáček, David Tudor, Merzbow, Giacinto Scelsi, György Ligeti, Lol Coxhill & Steve Beresford, Longberg
Co-production: Centre Chorégraphique National d’Orléans
– Anton Tchekhov’s Théâtre International Festival (Russia) – Théâtre de la Ville–Paris
This creation receives creation’s aids from the Région Centre.
Supported by: Centre Culturel Français de Moscou
, Mairie de Moscou, Ministére de la Culture russe et de Culturesfrance (Ministére des Affaires étrangeres et Européennes), Scéne Nationale d’Orléans
With support from the Institut Français d’Athènes
9 Jan 2011
A Masterclass by a Great Master
with the coreographer Josef Nadj
7 Jan 2011
After-performance talk with Josef Nadj