Artdanthé #26 au Générateur
〓 Date et horaires 〓
Le Vendredi 22 mars 2024 à 20h
〓 Tarif 〓
TP : 12€ / TR* : 8€
► Je réserve
* demandeur.se.s d’emploi, intermittent.e.s du spectacle, – 30 ans, + 60 ans et familles nombreuses
LA QUATRIÈME FORCE
Katalin Patkaï
Originally, there’s a dog “as powerful as he is beautiful” and very scary. Looking at him, you don’t know whether he’s a loving animal or a bloodthirsty monster.
And then there’s the mistress: a woman reconverted to the security profession after a year’s training. The job is tough, demanding self-sacrifice: no sleep, endurance in the cold, the heat, jetlag, reduced social life.
Between the two, there’s an inseparable bond: she’s the guide, he’s the guard, like a shadow or a hairy second skin.
At first, she asks him to obey, to know his job as she knows hers, demanding without understanding who she’s talking to. Little by little, the method taught by her trainers – virile men and would-be matadors who advocate the enslavement of the animal to the point of annihilation of its character – falls apart. As she gets to know the dog, she experiences strange phenomena: sensory hyperacuity, development of the sense of smell and hearing. An inter-species alliance is formed.
Pulling as much from the absurdist metaphor of Kafka’s The Metamorphosis as from the feminism of The Companion Species Manifesto by researcher and biologist Donna Haraway, performer and choreographer Katalin Patkaï proposes with La Quatrième force to show on stage a real example of the inextricable relationship between Woman and Dog, based on her experience as a canine security guard.
A proposal by Katalin Patkaï
Under the artistic direction of Aude Lachaise
Interpretation: Paco (Belgian Malinois Shepherd), Arsène Boiffier-Patkaï, Abdellah Fellah, Katalin Patkaï, Alma Teschner
With the wise and benevolent eyes of : Zsolt Boros, Pilar Jaramillo, Estelle Lacombe, Marie-Noël, Lise Terdjman
Support and thanks to Artagon Pantin for accepting Paco into their dance studio, to Mannespieces for providing rehearsal space, and to So What & Co.
© Zsolt Boros
EMPATHY ø – The Struggle of the Angels
Marlène Rostaing – Cie Body! Don’t Cry
After a trilogy on the legacy of femininity and the deconstruction of family inheritance, choreographer, dancer, singer and director Marlène Rostaing continues her look at the legacy of violence with a diptych entitled Empathy ø. This first installment La Lutte des Anges questions the legacy of violence received or given, as a social, cultural, religious, political, familial construct.
On stage, an army of angels occupy a ZAAD (Zone d’Amour À Défendre), rejecting all forms of violence through their rituals, dances, cries, songs. A kind of direct divine message, to be looked at eye-to-eye. God’s envoys rebel, abstractly questioning their function. It’s a way of humanizing the mythical figure of the Angel and giving him back his flesh-and-blood body. We’re not born violent or executioners – we become them or inherit them. Where is the zone to be protected before the carnage?
La Lutte des Anges is a performance and choreographic concert based on the song repertoire of Marlène Rostaing, in collaboration with drummer, vocalist and composer Éric Perez. This one was born a year after the death of Yassin Mebarkia, the director’s adopted younger brother, tragically killed on January 3, 2022 by warders at the Villefranche-sur-Saône prison where he was incarcerated. It’s a way of sublimating childhood and the injustice suffered by children damaged too early by institutions, family, police and prison violence.
Choreography and direction: Marlène Rostaing
Performance: Claire Lamothe(dance and voice), Alexandre Nadra (dance and voice), Éric Perez (drums and voice),Marlène Rostaing (dance and voice).
View the festival teaser:
Marlène Rostaing
Marlène Rostaing
Born in Vienne in the Dauphiné region where the patois is no longer spoken, of Spanish origin, Marlène Rostaing was born between two cultures, where French intersects with Spanish. She began gymnastics at the age of 4, then in 1994 following an injury she turned to theater, which she practiced in Lyon with Bernard Bauguil, then obtained a DEUG in Performing Arts at the Université Paris 8 St Denis section Théâtre where she met Claude Bushwald, stage liar, movement theater Claire Heggen and Yves Marc. She then entered the École Marcel Marceau where she discovered body mime, the technique of Etienne Decroux quickly becoming her first choreographic tool. Also an acrobat, she follows professional training at the circus school Le Lido in Toulouse and in parallel contemporary dance classes at the James Carles dance center, then in Belgium. She will continue to train in dance with David Zambrano, Nina Dipla, Roberto Olivan, Sharon Fridman… in theater with Simon Abkarian, Yoshi Ohida, in improvisation with Joëlle Léandre and Cécile Loyer and in singing with David Goldsworthy (Roy Hart Theater),Beñat Achiary, Hélène Sage, Elise Dabrowski, and the Glottes Trotters school directed by Martina Catella in Paris.
Her career as a performer crosses paths with Joëlle Bouvier, the Collectif l’Art Quotidien, Josef Nadj, Aurélien Bory, Phia Ménard, Lali Ayguadé, Baro D’Evel. She creates the Cie Body! Don’t Cry based in Toulouse. She begins work on her heritage of femininity through three soli Le Bal, Tragôdia ou Thésée-moi! and Marie Blues création 2023, in which dance and voice intermingle. In 2010 she discovered and practiced dance and voice improvisation. She passes on her improvisation technique, which she develops around dance, spoken and sung voice through workshops.
Katalin Patkaï
Katalin Patkaï
Katalin Patkaï graduated as a set designer from the École Nationale Supérieure des Arts Décoratifs in Paris. She first worked as a scenographer with choreographers Arco Renz, Marion Ballester and Marie-Jo Faggianelli, then with her own pieces: Spatial sound for a dancer (2002), which welded her collaboration with Ugo Dehaes. She became involved in dance with the project entrusted to her by set designer Pierre Jorge Gonzalez, working with choreographer Arno Renz at Anne Teresa de Keersmaeker’s Flemish Dance Center (Rosas). Then, from her encounter with multidisciplinary artist Yves-Noël Genod, C’est pas pour les cochons (2009) was born. In 2013, following the birth of her two sons, she undertook MILF. In 2015, follows Remous, a piece for the very young, she continues with childhood in the piece HS in a more intimate way with her own child.
In 2008, Daniel Larrieu awarded Katalin Patkaï the SACD prize for New Choreographic Talent. She performs for choreographers Marie-Jo Faggianelli, Isabelle Esposito, Erika Zueneli and Eric Arnal Burtschy. She is a graduate of the EFAY yoga school.
Katalin Patkaï has been collaborating with Le Générateur for over ten years, where she has shown several of her pieces and participated in collective initiatives such as Les 24h de la performance in 2015.