Performance, 1h30’
Pelanda
Admission free while places last
This work is conceived as a deep dive into the idea of time itself. More than just a concept, La nuit tombe quand elle veut is an adventure in which we will be two flamboyant figures facing the world, sharing rites and dances. Between first actions and the creation of utopia, in this assembly, we will all become flaming creatures, watching and waiting.
The desire to come together in this piece is the experience of the body as medium, in touch with the reality of this world, becoming enraged by it, bodies which see, receive, stock, stack, compile, cannibalize, archive, bury, etc. Seeing with a blind eye, they re-imagine cosmogonies, bringing out utopic and insolent reconfigurations, somewhere between rage and enchantment. They allow themselves to be inhabited by visiting spirits, body borrowers, bodies which affect certain images, dancing, like fugitive archives, etc. We imagine letting these images poison their fiction, like those damned for eternity, like those playing with a chimera’s fire, those who bring together rites to confirm their own existence.
(Marcelo Evelin e Latifa Laâbissi)
Marcelo Evelin & Latifa Laâbissi create a collaboration shaped by imaginary and sound experience: an hallucinative vigil, in the presence of two flaming creatures pressuring the images, the voices and the states they go through.
Traditionally, a vigil is a gathering moment permitting to pass through the symbolic threshold that led from the daylight to the night. For this collaboration from both sides of cultures, the french choreographer Latifa Laâbissi and the brasilian choreographer Marcelo Evelin chose to place the conditions of an incarnate vigil: embodied by voices, songs, inhabited by flaming presences and nagging ghosts. With La Nuit tombe quand elle veut, they offer the audience to follow them in a perceptive immersion; crossing an internal experience with two figures on watch—half-look-out, half-pythia. In the com- pany of the musician Tomas Monteiro—whose theremin becomes the amplifier of their imaginary states—their pres- ences mutate, becoming “bodies that see, receive, stock, stack, compile, cannibalize, archive, bury.” Multiplied by the incandescent space of Nadia Lauro, by the light they shimmer, by the languages they produce, those two bodies, swamped with pictures, melt in a tumultuous and malleable substance, in a constant metamorphosis.
(Gilles Amalvi)
Latifa Laâbissi. Mixing genres and redefining formats, the creations of Latifa Laâbissi bring onstage multiple off-stage / off-field elements channeling different figures and voices. The staging of these voices and the face as a vehicle of minority states ties into the danced portions of the work in Self portrait camouflage (2006) and Loredreamsong (2010). Continuing her thematic study of archives, she created Écran somnambule and La part du rite (2012) based on German dance from the 1920’s. Pourvu qu’on ait l’ivresse (2016), co-signed with the set designer Nadia Lauro, created visions, landscapes and images, combining excess, monstrosity, the beautiful, the random, the comic and fear. Since 2011, Latifa Laâbissi has been Artistic Director of the Extension Sauvage artistic and pedagogical program and festival in rural Brittany. In 2016, a monograph on the ensemble of her work was published by the Editions Les Laboratoires d’Aubervilliers and Les presses du réel. In 2018, she created with Antonia Baehr the performance Consul et Meshie.She also gathered in 2019 for the video Moving Backwards by Pauline Boudry and Renate Lorenz, presented in the Swiss Pavillon of the 58th Venice Biennale. The same year, her cre- ation White Dog was shown at european festivals (Marseille, Tanz im August - Berlin, Automne à Paris, festival TNB Rennes), before a french and international tour. In 2021, the creation Ghost Party (part I) is a duet-performance with the Dutch videomaker Manon de Boer, which will form a pair with a film by Autumn, Ghost Party (part II). Both parts will be exhibited in FRAC Bretagne. In 2022, Fugitive Archives a group piece will be created for the CCN Ballet de Lorraine.
Marcelo Evelin was born in Teresina, Brazil. He is a choreographer, researcher and performer, living and working between Amsterdam (The Netherlands) and Teresina (Brazil). In Europe since 1986, he has worked with dance, having collaborated with artists from different disciplines and backgrounds in projects also including physical theater, music, video, installation and site-specific performances. Evelin is an independent creator with his Platform Demolition Incorporada, created in 1995, and teaches at the Mime School in Amsterdam, where he also guides students in their creative processes. He coordinates workshops and collaborative projects in various countries of Europe, America, Africa, Japan, South America and Brazil, where he returned in 2006 and since then has been working also as a curator, having deployed in Teresina, Piaui, the Núcleo do Dirceu, a collective of artists and a platform for independent research and development of the Contemporary Performing Arts, which he coordinates until 2013. He created The Who of Things for Carte Blanche, the Contemporary Dance Company of Norway; and All the Women in the World for Dancebox, in Kobe, Japan. His performances De repente fica tudo preto de gente (2012), Batucada (2014) and A Invenção da Maldade (2019) are being shown in theaters and festivals in Brazil and abroad. He currently teaches at CND in Paris, HAK in Amsterdam and EXERCE in Montpellier and coordinates the Residency Center Campo Arte Contemporanea in Teresina, Piaui, Brazil. In 2019 received the title of Doctor Honoris Causa by the Federal University of Piaui, Brazil.
Nadia Lauro. As a visual artist and set designer, Nadia Lauro has been developing her work for several decades in various contexts (scenic spaces, landscape architectures, museums). She has conceived set designs, environments, and visual installations with strong dramaturgical power, thus generating new ways of seeing and being together. Nadia Lauro has collaborated with the following international choreographers and performers: Vera Mantero, Benoît Lachambre, Emmanuelle Huynh, Fanny de Chaillé, Alain Buffard, Antonija Livingstone, Latifa Laabissi, Jonathan Capdevielle, Laeticia Dosh and with Jennifer Lacey with whom she co-authored numerous projects. Les Presses du Réel published Jennifer Lacey & Nadia Lauro - dispositifs choré-graphiques by Alexandra Baudelot. She received a New York Dance and Performance Award (The Bessie) for her visual installation in $Shot (Lacey/Lauro/Parkins/Cornell). In 1998 she founded Squash Cake Bureau with the architect Laurence Cremel to develop landscape design and urban furniture projects. She also designed concerts (Cocorosie, Gaspard Yurkévitch, Dani Siciliano). She has developed scripted environments in museums, theater houses, and art galleries in Europe, Japan, and Korea. For the 4th edition of the New Festival at the Centre Pompidou, she has presented La Clairière (Fanny de Chaillé/Nadia Lauro), an immersive visual environment designed to hear “Khhhhhhh”, Imaginary and Invented Languages. Since 2014, Nadia Lauro is associate artist to the Extension Sauvage Festival (Latifa Laabissi / Figure Project).
LA NUIT TOMBE QUAND ELLE VEUT
created by: Latifa Laâbissi & Marcelo Evelin
performed by: Latifa Laâbissi, Marcelo Evelin & Tomas Monteiro
music: Tomas Monteiro
space-costumes: Nadia Lauro
figures: Latifa Laâbissi & Nadia Lauro
light: Chloé Bouju
sound Controls: Clément Crubilé
inside eye: Isabelle Launay
production: Figure Project
coproduction: Festival de la Cité, Lausanne (CH) / Le Quartz - Scène nationale de Brest / ICI-CCN de Montpellier / CNDC d’Angers / TNB - Centre Européen Théâtral et Chorégraphique, Rennes / La Passerelle, Scène nationale de Saint-Brieuc / Centre National de la danse, Pantin / Festival d’Automne à Paris