Maud Blandel — I L K A

Lignes de conduite (Lines of conduct)

Concept et choreography
Maud Blandel 
 
Collaboration to the choreographic writing
Maya Masse

Original music by
Charlemagne Palestine
 
Musical arrangements
Clive Jenkins

Scenography
Karim Bel Kacem
 
Light design
Jean-Philippe Roy
 
Light technician
Edouard Hügli
 
Technical direction
Silouane Kohler 
 
With
Gabriela Gómez Abaitua, Maya Masse, Romane Peytavin, Caroline Savi Marsalo
 
 
Production
I L K A
 
Administrative support
Alexandra Nivon
 
Production and international touring
Parallèle — Pôle de production international pour les pratiques artistiques émergentes

Coproductions
Arsenic - centre d'art scénique contemporain - Lausanne | ICI — centre chorégraphique national Montpellier - Occitanie / Pyrénées-Méditerranée / Direction Christian Rizzo | PACT Zollverein - Essen | La Passerelle - Scène nationale de Gap, Alpes du sud 
 
Supports
Ville de Lausanne | Pro Helvetia | Loterie Romande | Service culturel Migros Vaud 
 
Residencies
ICI — centre chorégraphique national Montpellier - Occitanie / Pyrénées-Méditerranée / Direction Christian Rizzo |  La Villette, Paris | Ballet du nord - CCN de Roubaix - Hauts-de-France | PACT Zollverein - Essen | La Passerelle - Scène nationale de Gap, Alpes du sud 
 
Touring support
Pour-cent culturel Migros | Corodis | Pro Helvetia

Création 2018

 

Dance
— Marseille
There is no date in the future for this show.
31 Jan 2019 — 21H
KLAP Maison pour la danse — Marseille

Since ever, every culture knew to invent its own trance rituals, in order to free the captive souls of a community. No matter the fictional system of the ritual, in any case it is a matter of crossing: a state of rapture, or the possibility of getting out of oneself, during a limited time.

 

For her second play, Maud Blandel chooses to investigate one of these rituals: tarantism. Popular healing rite in the South of Italy, mixing christianity, magic practices, and musical catharsis, it not only attests to the warding off forms established by a society,  but it gives as well an account of a whole section of the evolution of cultural balances of power. At first from telluric origin, and then religious one, tarantism is today exploited by a ferocious tourist-festive industry.

 

Formal play for four female dancers, « Lignes de conduite » chooses to recount the evolution of the phenomenon of possession, with the purpose of questioning poetically what may have produced the spectacularization (turning-into-a-show) of such practices.