Credits

conception, texte et mise en scène  : Pablo Jakob Montefusco  

jeu : Giuseppina Allemann, Davide Brancato, Daniela Cancer-Dell’Anna, Alessandro Mangia, Laurie Perissutti, Sophie Studer, Rosa Taddei, Michel Thentz, François Vuilleumier / assistanat à la mise en scène : Julia Lepère / Scénographie : Andrea Baglione / création sonore : Louis Paganin / création costumes : Gabrielle Marty / Création lumière et régie : Gael Chapuis / Construction du décor : Clément Debras / collaboration artistique : Marilyn Fazio / ateliers danse : Rosa Taddei / administration : Margaux Berdat 

production : Les Chagrins Provisoires / coproduction  : Théâtre du Jura, Evidanse et Stücklaborbasel 

Synopsis

Un trentième anniversaire en grande pompe. Une famille dispersée entre la Suisse et l’Italie enfin réunie pour l’occasion. Des chansons, des paillettes. Que la fête fut belle ! Tandis qu’on se retrouve le lendemain pour ranger et nettoyer, les effusions de joie laissent peu à peu place au silence et des blessures enfouies refont surface. Les souvenirs de la fête se mélangent à ceux d’un passé d’exil et de douleurs causées par la politique d’immigration suisse au cours du siècle précédent. Fresque lumineuse sur l’héritage invisible transmis d’une génération à l’autre et le poids de l’histoire nationale, La Felicità dresse le récit intime d’une famille qui ne parvient pas à oublier ses souffrances et montre que derrière chaque exil se dessine un chemin de larmes.

upcoming

Théâtre du Jura, du 2 juin au 5 juin 2023 - 20h

Links

https://www.les-subs.com/evenement/lenigme-rosemary-brown/

Credits

mise en scène et texte : Maya Boquet  / texte : Alban Lefranc / conception et création musicale  : Elsa Biston / Jeu : Olivier Normand / conception et création lumière et scénographie : Andrea Baglione / régie son et constructeur électronique : Jonathan Reig  / Assistant lumière : Martin Barrientos / aide à la construction : Clément Debras, Rosalie Perricaud  / régie générale et lumière : Philippe Bouttier / accompagnement dramaturgique  : Elise Simonet

production : La POP / coproduction  : Les SUBS, 3bisF, Studio théâtre de Vitry ,
le Grame 

soutiens :
Bourse d’écriture – spectacle sonore ou musical 2021 de l’association SACD-Beaumarchais, Fonds SACD Musique de Scène, aide aux projets musicaux pluridisciplinaires de la Maison de la musique contemporaine, la Ménagerie de Verre dans le cadre du Studiolab, DICRéAM, le Centre national de la musique.
Projet soutenu par le ministère de la Culture – Direction régionale des affaires culturelles d’Île-de-France

Synopsis

À la fois installation plastique et sonore, fantasmagorie et documentaire,  L’énigme Rosemary Brown retrace l’histoire fantasque d’une femme médium qui, à partir des années 1960, « entrait en contact » avec des compositeurs tels que Liszt, Chopin, Beethoven, Schubert, Debussy, Rachmaninov… Lors de ces séances de spiritisme, elle transcrivait sur partitions les œuvres posthumes que ces compositeurs venaient lui dicter. À travers l’usage de divers matériaux textuels, sonores et visuels, cette pièce questionne notre rapport aux fantômes, à la spiritualité, aux sciences et à la création.

upcoming

Du 26 au 28 avril 2023, Les SUBS, Lyon
Du 12 au 15 mai 2023, Studio-Théâtre Vitry

Links

Or-là experience #1

Credits

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.

Synopsis

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.

Links

Les Divins Animaux

Credits

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 

Synopsis

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.

Links

https://vimeo.com/480338242

Credits

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

Synopsis

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.

upcoming

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
17 février 2022 - FAME - Festival international de film sur la musique - Gaîté lyrique

Links

Cie Laïka

Credits

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

Synopsis

"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

upcoming

Artistic residency, Théâtre de l'aquarium, March 2020

Credits

conception: AxisModula, Andrea Baglione / with the AxisModula Ensemble: Sarah Brabo Durand, Nina Maghsoodloo, Ronan Gil / visual creation and lighting: Andrea Baglione

Synopsis

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.

upcoming

Stages of the performance laboratory:
February 11th, Saint Thomas School, Strasbourg April 7th and 8th, La Nef, Wissembourg (canceled)

Links

Le Pacifique
Groupeenfonction

Credits

conception: Arnaud Pirault / music: Rubin Steiner / lighting, scenography: Andrea Baglione / video: Alizée Honoré / stage management: François Blet

Synopsis

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

upcoming

March 12th, 2020, Festival le Grand Bain, Le Gymnase, Roubaix

Links

Cie Magnolia

Credits

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

Synopsis

"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

Links

Palais de Tokyo

Credits

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.

Synopsis

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.

Links

Kunstraum
Le Bétyle d’Ail libretto

Credits

conception : Nils Alix Tabeling / inspired by: La Vouivre by Marcel Aymé / with: Andrea Baglione / music: Mathieu Levet /

Synopsis

"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)

Links

Danse N°1

Credits

directing: Andrea Baglione, Maxime Chudeau / performers: Max Émilien Brisard, Augustin Brisard

Synopsis

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.

Credits

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).

Synopsis

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.

Links

Scenotype

Credits

scenography : Alexandra Grandjacques, Andrea Baglione

Synopsis

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.

Links

A Very Close Look

Credits

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.

Synopsis

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.

Links

Éclipse

Credits

design: Andrea Baglione / composition: Étienne Haan / performers: Ensemble of the Strasbourg Concervatory / dancer: Clément Debras

Synopsis

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?