conception and scenography: Andrea Baglione / dancers: Madeleine Fournier, Clément Debras (cast in progress) / sound design: Javier Munoz Bravo / dramaturgy: Aristeo Tordesillas
A project supported by Groupenfonction and Cinema.zero.
Or-là, is a choreographic experience built around the concept of the camera obscura*, seeking to give shape to what the contemporary figures of an upside-down world could be. With dancers Madeleine Fournier and Clément Debras.
It is a photosensitive installation, which takes place in broad daylight in a public space (square, garden, forest, field or seaside).
*The camera obscura is a thousand-year-old optical device.
It allows you to obtain an inverted and laterally transposed image of the outside world by allowing light to pass through a hole in a box or a dark room.
It was used by astrologers to observe the sky, by painters to obtain hyperrealistic renderings, then by photographers. It is a space from which one sees without being seen and which thus crystallises a tension between representation, knowledge and surveillance. A tension in our ways of image making and consumption in the digital age. It is at the origin of photography and still at the heart of our cameras today.
Conception et mise en scène : Florian Pautasso / Interprétation : Stéphanie Aflalo, Roman Kané, Aurélie Lannoy / Scénographie : Andrea Baglione/ Création musicale : Sophie Van Everdingen/ Création costumes : Florian Pautasso / Création lumières : Philipe Ulysse / Création son : Marius Pruvot / Assistanat objets et costumes : Julia Leandri / Recherches préparatoires : Julie Chomat / Construction : Clément Debras / Administration et production : Fanny Paulhan
Trois participants se lancent dans l’aventure Zoo. La voix de l’organisateur les guide à travers une suite d’épreuves. Chacune les engage à abandonner sous les yeux des visiteurs un aspect de leur humanité. Poussés par des motivations secrètes, ils se risquent à ces expériences percutantes qui ravivent ou apaisent des plaies humaines séculaires – la perte de la dignité, la peur de la mort, les limites du langage. Au centre du plateau, les animaux sont présents, objectifiés, morts, ou vivants.
Un film de : Andrea Baglione et Madeleine Fournier / Musique : Clément Vercelletto d’après "If Music be the food of love" d’Henry Purcell / Réalisation : Andrea Baglione / Chorégraphie : Madeleine Fournier / Chef opérateur : Lucien Valle / Interprètes danse et chant : Jonas Chéreau, Madeleine Fournier, Catherine Hershey, Corentin Le Flohic, Johann Nöhles
Production : ODETTA
Administratrice de production : Margot Guillerm
Soutiens : HEAR – Haute école des Arts du Rhin ; Montévidéo Marseille
Ce qui est en haut est comme ce qui est en bas est une installation vidéo, entre bas-relief et peinture baroque. Elle dialogue avec la pièce La Chaleur de Madeleine Fournier. Pensée comme un long clip onirique cette expérience fascinante à la faveur de la camera obscura fait apparaître les danseurs comme des personnages d'un temps révolu. Fantomique et magique.
Portée par la musique de Purcell c’est une ode chantée à la création au sens large : aux arts, au cycle du vivant et au soleil, à ce qui se transforme. La scène se tient en extérieur sous la lumière et la chaleur du soleil.
27 - 30 Janvier 2021 Festival Parallèle Marseille
8 mai 2021 Atelier de Paris CDCN - June events
19 et 20 Juin 2021 Buda Courtrai - Almost summer special edition
with: Ferdinand Niquet-Rioux, Camille Rutherford, Chloé Larrère / text and conception: Judith Longuet Marx, Léa Tarral, in collaboration with the team / directed by: Judith Longuet-Marx / dramaturgy: Léa Tarral / musical creation: Cyril Brossard / scenography: Andrea Baglione / lighting: Lucien Valle
"Tourisme is a theatrical performance at the crossroads of various disciplines, somewhere in between theatre, music and visual installations.
Even though the text resembles a theatrical fable, the performance is largely based on visual arts.
The project is essentially based on documentary material that is reworked and transformed into fiction. Tourisme questions the figure of the contemporary tourist and our ways of travelling. We are approaching the topic from a satirical angle.
The fable takes place in a hybrid space between a holiday club located in a former French colony, an archaeological excavation site and a theatre set." Cie Laïka
Artistic residency, Théâtre de l'aquarium, March 2020
conception: AxisModula, Andrea Baglione / with the AxisModula Ensemble: Sarah Brabo Durand, Nina Maghsoodloo, Ronan Gil / visual creation and lighting: Andrea Baglione
Sound performance and improvisation space for young audiences around the classical elements: Water, Earth, Air and Fire.
The creation takes place over the course of a long-term sound experiment with fourth grade students from the Saint Thomas School in Strasbourg.
SoooonGe ! invites the audience to discover the sounds of contemporary musical aesthetics through space, matter and bodies.
Three performers, a pianist, a vocalist and a percussionist, play with the space and the objects within that space as if they were instruments.
Little by little, they invite the audience to compose sound landscapes and shape listening experiences with them.
Stages of the performance laboratory:
February 11th, Saint Thomas School, Strasbourg April 7th and 8th, La Nef, Wissembourg (canceled)
conception: Arnaud Pirault / music: Rubin Steiner / lighting, scenography: Andrea Baglione / video: Alizée Honoré / stage management: François Blet
A ready made dancing poem
"Fête is about a man who is dancing. He dances, until he's exhausted. He's alone, but acting as if he was at a party, or 'fête', in french.
He is getting dizzy, melting into his own frenzy, his very own enjoyment and vertigo.
He is spinning around, aimlessly, idle to keep only the essence of his desire: his body, his breath, his impulses.
Because aimlessness and celebration are indissolubly linked.
Because his power lies in his excesses, his contesting force, his own consumption. Because Fête is a poem, a song, a joyful elegy." Groupenfonction
March 12th, 2020, Festival le Grand Bain, Le Gymnase, Roubaix
directing and writing: Audrey Liebot / performer: Coline Bardin / scenography: Andrea Baglione / lighting: Gildas Goujet / costume: Tania d'Ambrogio / stage Manager: Céline Ribeiro / artistic collaboration: Flavia Papadaniel / technical support: Justine Bouillet, Zara Bowen, Selima dir Melaizi
"I borrowed a title from Sophie Calle. Prenez soin de vous (french for 'take care') is an invitation to reopen a wound, enter it, do it all over again, and observe the time it takes to heal.
Where does the pain go when it disappears? Prenez soin de vous is both the antidote and the poison. A blind statement that bears the stigma of the amorous demand: please come, please stay, please go on. Please don't die.
In this double paradoxical movement, Coline Bardin is alone, yet not alone. She can be seen from everywhere. Her body absorbs, the material limits of her body fade away. Time passes, uncertainty grows. She takes the risk of losing both memory and mind. This is a necessity in the lessening and transformation of what hurts. Everyone has already lost something." Audrey Liebot
design: Nils Alix Tabeling / with Andrea Baglione, Alexis, Yuika Hokama, Louis Sé / music: Torbern Wessel with Alison Yip and Camillo Grewe / Make-up: Marcel Alcali, Simon.e Thiébaut
Performance presented as part of the exhibition Futur, ancien, fugitif at the Palais de Tokyo.
An ode to Nature, a celebration of cycles of rebirth emerging from the putrid.
Within the four seasons, which are personified and imbued with symbolism, the magnificent, the peculiar and pagan iconography coexist. Tinged with songs, music and poetry, this joyful operetta draws its references as much from ancient culture as from English TV films of the 1970s.
conception : Nils Alix Tabeling / inspired by: La Vouivre by Marcel Aymé / with: Andrea Baglione / music: Mathieu Levet /
"Inspired by Marcel Aymé's novel La Vouivre, the script depicts the love relationship between a mythical creature from French pagan folklore, and a macabre sculpture of a fallen medieval soldier.
Together both characters compose one body, the rotten soldier merging with and digesting the slithery creature, her dress forming her lair and her lair composed of his reorganised body parts.
The living dead and the immortal fairy engage in a lighthearted conversation on the parameters of their mutual immortality.
The operetta unfolds thematics of sexuality, desire and frivolity, seen here as a positive and critical notion, as opposed to dogmatic understandings of these terms.
The piece salutes queer authors like Sidonie Gabrielle Colette and Paul Verlaine in a grotesque and macabre celebration of the human body in its glorious grossness and chthonic drives toward their inner cavities, seen as spaces of merging together and organic conversations." Nils Alix Tabeling
Le Bétyle d’Ail is a performance over two nights, presented at the Kunstraum Gallery (London) and Komplot (Brussels)
directing: Andrea Baglione, Maxime Chudeau / performers: Max Émilien Brisard, Augustin Brisard
Dance performance around the concept of brawl which, as the minutes go by, focuses in a strangely gentle way on the myth of the enemy brothers.
Conception and directing in collaboration with Compagnie Quai n°7. Based on an original idea by Juliette Steiner, inspired by Ismène by Yannis Ritsos.
performers: Juliette Steiner, Ruby Minard / actor direction: Justin Litaaba Kagnitaa / scenography: Andrea Baglione, Juliette Steiner / lighting: Andrea Baglione, Julia Rey Ramos
performance-play presented at the Comédie de l’Est (Colmar), the Salle Europe (Colmar), the Espace Athic (Obernai), the Taps (Strasbourg).
Built around the myth of Antigone, this performance-play is conceived as a piece of memory, a film in the making, rushes at their editing stage.
Borrowing an iconography of powerful female figures from the cinematographic and the photographic universe, the play leads to a confused perception of the figure’s identity. Is it Venus? Is it Antigone? The audience is seeking to reconstruct the image of a body as one searches for a memory, piece by piece, in the course of an disrupted narrative. The play fuels a social and political reflection on potency and the power of images that form the basis of our presence in the world.
scenography : Alexandra Grandjacques, Andrea Baglione
Scenography workshop resulting from a collaboration with Alexandra Grandjacques (Musée du Bagage, Tibet Museum, August Herbort Exhibition…). Scenotype places space at the heart of its research as a medium of sensitive, synaesthetic and poetic experiences.
conception: AxisModula Ensemble, Andrea Baglione / based on a musical composition by: Elnaz Seyedi / soprano: Sarah Brabo Durand / piano: Nina Maghsoodloo / cello: Iida Hirvola / harp: Guillaume Gravelin / flute: Miyuki Okumura /
Presented at the Festival Neue Music (Cologne), the Festival Musique éclatée, Museum of Modern and Contemporary Art (Strasbourg).
Supported by the Haute École des arts du Rhin, Elektramusic, Ecce Kreativ, On-Neue Musik, the Fokwang University Essen and the Spedidam.
With her piece A very close look from far away, the composer Elnaz Seyedi brings the concept of distance to our attention. A phenomenon that is both abstract and concrete, poetic and political, which evokes both the duration of something and its distance.
It is all about paying attention, and building an expectation of something musical, to what it actually is not supposed to be, in order to make the distance between what we hear and what we perceive quiver.
design: Andrea Baglione / composition: Étienne Haan / performers: Ensemble of the Strasbourg Concervatory / dancer: Clément Debras
Between musical work and choreographic score, Éclipse explores the stakes of the instrumental gesture and aims to create a short circuit in the classical form of the orchestra by modifying the parameters of its direction.
Taking the figure of the conductor as a starting point, the piece creates a space-time where the authority between gesture and sound is shifting, unstable.
Instrumental body, dancing body, conducted body and conducting body search for their sounds as one searches for a direction on a compass. Two conductors lead the ensemble, one of them is a decoy. Where does the sound come from, what gestures are directing the orchestra, are we facing a real concert or its imitation? When and where does the concert start?
Andrea Baglione is currently developing Or-là, a choreographic experiment based on the early stages of the appearance of an image, built around the concept of the camera obscura, seeking to give shape to what the contemporary figures of an upside-down world could be. With dancers Madeleine Fournier and Clément Debras.
Her work evolves around the physical space of the theatre and the timelapse of the performance and questions the status of the image through different entry points.
She thinks of her practice as a field of experimentation and transformation of the visible and seeks to design elements for both ears and eyes, shaping tools, prostheses, palliatives to free and provoke the imaginary in the form of installations, shows, films, or performances.
She works as a set designer for Charlotte Lagrange, Arnaud Pirault, Audrey Liebot, the AxisModula Ensemble, the Quai n°7 company and the Laïka company.
She is associated with the work of other companies as a scenography assistant (Hubert Colas — Diphtong Cie, Cie SVPLMC, Julien Gosselin).
She performs and collaborates with Nils Alix Tabeling, composer Étienne Haan and partners with Alexandra Grandjacques to design exhibition scenographies with their studio Scenotype.
©ANDREA BAGLIONE, all rights reserved / graphic design : PAUL CABANES / programming : NICOLAS BAILLEUL / fonts : SUISSE INT'L THIN, SELF MODERN ITALIC / last update : 2020