PARIS ISTANBUL MADRID MONTREAL

  • PARIS ISTANBUL MADRID MONTREAL

NATHALIE COLLANTES-PARIS


 Credit picture : Valérie Lanciaux


Nathalie Collantes is dancer and choreographer. After dancing in companies with Suzon Holzer, Christine Gérard, Daniel Dobbels and Odile Duboc, she created her company, Fanfare Blême,  in 1992 with the duo CHANT D’ENCRE. Her collaboration with sound and plastic artists and with numerous dancers makes her considering her works on different and various modes. 
Her work with the performers throughout the duration of a project makes possible the construction of strong groups enriched by the diversity of their personalities. Entirely based on the autonomy of the dancers, each project requires periods of experimentation that she often initiates one-on-one. For her, each creation is an occasion to draw the portrait of her partners. She makes films and is the author of two books for children. 

FONDS D'ÉCRAN (2016)

FONDS D'ÉCRAN is a performance that will take place in the reading room of National Archives. From and with the website LE PROJET ROBINSON, a dance will form in the perspective of the video images. The dialogue with Jacqueline Robinson, pioneer of modern dance in France, doubles up as a dialogue with a place, a dance and the presence of visitors.

Dance : Nathalie Collantes and Julie Salgues
Sound : Valérie Lanciaux

LE PROJET ROBINSON (The Robinson Project)

Le Projet Robinson is a website putting online extracts of the filmed interviews between Nathalie Collantes and Jacqueline Robinson, as well as extracts of the piece "La Mémoire Courte" (see text below), texts, reports, in the aim to activate the memory, without regarding it as sacred. It claims a large and immediate accessibility. 

Website creation
Nathalie Collantes, Valérie Lanciaux, Julie Salgues
Website design 
G.U.I (Nicolas Couturier,
Julien Gargot, Bachir Soussi-Chiadmi and Benoît Verjat) 

Direct link to website : leprojetrobinson.org 




LA MEMOIRE COURTE (Short Memory)
PREMIERE OF "LA MEMOIRE COURTE" ON JUNE 19, 2013 AT JUNE EVENTS FESTIVAL

As she was building her dancer and choreographer career, Nathalie Collantes never stopped  keeping up friendship and work relationships with her former professor Jacqueline Robinson, pioneer of Modern Dance in France and founder of the famous Atelier de la Danse.
From this relationship a series of 20 hours of filmed interviews was born in 1999, trace of 16 years of a continuous dialogue about dance. This material, unique and precious, represents the starting point of the diptych La Mémoire courte (Short Memory) and Le Projet Robinson (The Robinson Project).
The nature of these two forms is different and allows a mutual improvement.
La Mémoire Courte is a duet composed of two independent choreographic scores that plays on the idea of an indirect dialogue and the position of witness. The two female dancers take up the space in a peculiar way. They explore qualities of movement, cross states and they mix with the meaning of the words without illustrating them. The voice of Jacqueline Robinson (in the interviews) accompanies these dances. Like the video image the voice spreads other spaces out. These different materials coexist and offer several perceptive entries.


LA MEMOIRE COURTE 

Choreography
Nathalie Collantes


With
Julie Salgues and Nathalie Collantes


Images and sound design
Valérie Lanciaux and Nathalie Collantes


Light
Séverine Rième


Sound engineer
Eric Yvelin 

Technical direction
Ludovic Rivière

  

UNE DANSEUSE DANS LA BIBLIOTHEQUE  
(A Dancer in the Library)/one dancer :  
                    
The company Nathalie Collantes proposes a project for children, linked to the publication of two books about dancing :
On danse ? by N. Collantes and J. Salgues, published by Autrement Juniors Arts (Link to On danse ? / Autrement
J’ai dix orteils by N. Collantes and J. Cottencin, published by Lieuxcommuns (Link to J'ai 10 orteils / Lieux communs


These two books, each in its own way, offer an approach to the choreographic art. Further to the writing of these books, the authors and dancers, Nathalie Collantes and Julie Salgues, propose a choreographic appointment to their potential readers.
‘Our intention is to go and meet, without taking the teacher’s place but by broadening the artist’s one… Talking, introducing oneself, moving, showing the book which is also an invitation On danse ? / ‘Shall we dance ?’ Putting the children into play or opening out the object-book :  J’ai dix orteils / ‘I have got ten toes’, dancing around it, answering the questions and … doing it again…’
Inside the library, between the sets of shelves, during 35 minutes, these meetings will mingle various points of view about dance : the dancer’s but also the choreographer’s, the reader’s, the spectator’s…
For the 8/10 year-old children, it is a chance to meet one of the authors of the presented works. It is also an opportunity to discover a vision of choreographic art through the presence of a dancer.
Une danseuse dans la bibliothèque (A dancer in the library) will celebrate its 10 years in 2013 !


MODE D'EMPLOI (User's guide)/4 dancers : 
                                                                                   
'The principle of the instructions for use is to describe in detail the starter of a device, the working of a structure. What would be the instructions of a choreographic piece ? A long enumeration of gestures, relationships, contexts... A detailed description without ellipses of the articulations of the potential sense of every sequence …
And if we considered the instructions for use while creating dance ?                          I would like to try to take in charge these instructions for use in the dance itself. Bringing, for example, a few studies linked to written gestures in different variations, or considering the same interpretation in various configurations. Full of my last three pieces, this new project will be based on gestures, states and significant wills. What is at stake is the value of interpretation. Like in music, it is about playing the notes only, the gestures and their composed duration, but also interpreting them. The performers will become sometimes kind of translators and repetition will have an important role in these real or completely illusory translations.' Nathalie Collantes


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