Lignes de conduite — Festival Parallèle - KLAP Maison pour la danse - 31 janvier 2019 / Théâtre de Vanves — 21e Artdanthé - 13 avril 2019
Initially trained as a contemporary dancer, Maud Blandel (1986) follows her education in the « direction » Master in La Manufacture, Lausanne and then with the Work.Master at la HEAD (Haute Ecole d’Art et de Design) in Geneva. Between 2013 and 2017, she closely collabores with the director Karim Bel Kacem on transdiciplinary creations carried by Think Tank Théâtre (Blasted, Gulliver, Mesure pour mesure, 23 rue Couperin - point de vue d’un pigeon sur l’architecture).
In 2015 she creates I L K A, a reflection and creation structure on choreographic practices where she develops her own pieces TOUCH DOWN (2016), and Lignes de conduite (2018).
She assists Rachid Ouramdane during the creation of Murmuration for the Ballet de Loraine in 2016 and, more recently, she works with the german composer and director Heiner Goebbels for his last production Everything that happened and would happen created during the Manchester International Festival. Occupied with the expanded notion of choreography, she will be part of several laboratories with the students of l’Ecole Nationale Supérieure de la photographie de Arles, or with Contrechamps - the Ensemble of Contemporary Music in Geneva in order to re-think choreographic practices through the look of different artistic fields.
Maud Blandel is a resident artist in l’Arsenic - centre d’art scénique contemporain in Lausanne since September 2018.
Parallèle supports Maud Blandel in the production and distribution of Touch Down and Lignes de conduite, her new creation.
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.
TOUCH DOWN (time out) chooses as investigation ground the sideline of US universities and as topic their popular icons: the cheerleaders. Now unavoidable figures of this ritual, they have a central part in the sport/show ceremony: fill the void of downtime.
Maud Blandel makes the most of the last week-end of the exhibition « Nous sommes foot » (We are soccer) to try out the stage piece TOUCH DOWN by readapting it in a museum version. The Mucem visitors will meet these dancers with permanent smiles who, during 6 hours, lose their breath while filling the void. The piece will be activated or not, depending on the route of the audience. TOUCH DOWN has been shown in its stage version at the Merlan, national stage, on 30 January as part of Parallèle —6.
En coréalisation avec le Mucem
Avec le soutien de Pro Helvetia
Maud Blandel animera un atelier de pratique artistique pour enfants au Théâtre de l’Œuvre.
Plein tarif 9.5 € | Tarif réduit 5€ (billet d’entrée aux expositions)
Réservation et achat sur place auprès du Mucem | www.mucem.org
Once, the Gods of the stadium said:
"Here, young ladies, here is our time-out. Use it right. »
The teenage girls stretched out their hands and accepted the gift.
But were they even aware of the burden they had inherited: the killing of time (through "entertainment") which may also mean the time of their own killing?
What if the masterpiece by Stravinsky had something to do with a cheerleader? What if a parallel existed between a human offering of the Rite of Spring and the tragic fate of a female supporter?
Confronting high culture and popular culture, "noble" and "ig-noble", Maud Blandel stages five dancers in a ballet with exacerbated physicality, where bodies confront themselves to the power of music and light. In the limelight, opposite the Gods of the stadium and her delirious fans, the cheerleader performs a series of acts. But what ideology is she the icon of? Twisting up to a desecrating point the patterns of her codified performance, Touch Down redraws contemporary folklore, where anxiety emerges in front of the sacrifice of the female body.
=> Watch teaser here !
Diffusion KOMM'N'ACT - plateform for young international creation - suports Maud Blandel in the diffusion of TOUCH DOWN
Production I L K A
Coproduction Arsenic – centre d’art scénique contemporain, Lausanne (CH) ; Les Subsistances, Laboratoire international de création artistique, Lyon (FR) - aide à la résidence
Supports Ville de Lausanne ; Loterie Romande ; Service culturel Migros Vaud ; Fondation Ernst Göhner ; Fondation Nestlé pour l’Art ; Pro Helvetia - Fondation suisse pour la culture, Corodis, Pour-cent culturel Migros
Creation December 10th 2015 at Arsenic - centre d'art scènique contemporain, Lausanne