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BALLET DU NORD - SYLVAIN GROUD

SYLVAIN GROUD, artistic director et choreographer

 

In 1991, Sylvain Groud graduated from the CNSMD of Paris, contemporary dance departement, and received thePrix d’Interprétation of the Concours de Bagnolet with theGigi Caciuleanu Dance Company. Between 1992 and 2002, he was part of the company of choreographer Angelin Preljocaj. He won the Concours International de Paris with his first choreography and started creating for the National Theatre Bucharest, Romania, and the Skopje Opera, Macedonia. In 2007, his play Si vous voulez bien me suivre gathered attention. With his in situ projects, such as People (more than 200 representations), Sylvain Groud is committed to bringing dance where people does not expect it. In 2010, the Rouen Opera ordered from him Cordes, a play for 8 dancers and 24 musicians under the direction of conductor Benjamin Levy. Continuing this exploration of the links between dance and music, he created Héros Ordinaires in 2011 for 4 dancers and 4 opera singers and Collusion for 4 dancers with the electronic music composer Molécule. In 2010, Je suis descendu du plateau was the result of an encounter with author Maylis de Kerangal. The same year, Sylvain Groud was invited to Suresnes Cités Danse festival where he met five Hip-Hop dancers and created Elles, a work that would later become the solo Ma leçon de Hip-Hop in 2013. In 2012, he ordered an installation art from plastic artist Jonathan Loppin. Together, they created Chambre 209, a choreographic, numeric and quadri-frontal installation. As a fan of Steve Reich’s music, Sylvain Groud created in 2013 a participative choreography called Music for 18 Musicians, performed live by the Ensemble Links. In 2015, he created with video maker Grégoire Kroganow Memento Vivere, an exhilarating choreography for 4 dancers. In 2016, Sylvain Groud created Trois Sacres, starring Bérénice Béjo, and Come Alive, a participative choreographic battle dealing with the idea of pop icon and how we see it, which was an order from the Days Off festival by the Philharmonie de Paris.

In April 2018, Sylvain Groud was appointed director of the National Choreographic Center of Roubaix Hauts-de-France, he confirmed his project and ambition with the creation of Let’sMove!, a participative project and the duo Dans mes Bras.

In 2019, he created Métamorphose with 4 young dancers and then Adolescent in Roubaix. This latest creation, which stars 10 dancers, is a collaboration with visual artist Françoise Pétrovitch.

BALLET DU NORD - SYLVAIN GROUD

Programs

ADOLESCENT

Conception and choreography Sylvain Groud in close collaboration with the dancers
Assisted by Agnès Canova

Scenography and costume design Françoise Pétrovitch

Music Molécule

Light Michaël Dez

Dancers: Yohann Baran, Marie Bugnon, Pierre Chauvin-Brunet, Agathe Dumas Alexandre Goyer, Alexis Hedouin, Julie Koenig, Lauriane Madelaine, Adélie Marck, Julien Raso, Nathan Bourdon (trainee), Léa Deschaintres (trainee), Laure Desplan (trainee), Yohann Mazurkiewicz (trainee)

Costumes made by Chrystel Zingiro with assistance of Élise Dulac and Patricia Rattenni

Production: Ballet du Nord - Centre Chorégraphique National de Roubaix Hauts-de-France

Coproduction: Le Colisée, Théâtre de Roubaix

STATEMENT OF INTENT

Adolescent is diving into the turbulent and bubbling waters of adolescence. Sifting through the adolescent figures of Françoise Pétrovitch, Sylvain Groud tackles the extreme complexity of the plural and protean body states.

On stage, 10 bodies in tension, whose age is difficult to grasp, play and thwart the centripetal forces of the intimate and centrifugal of the collective. The choreographic writing puts in tension both the need for singularization and the need to belong to the collective to exist or to survive. Whatever happens, at this period of life, it is a question of self-construction with a moving, elusive body, how to become one with the Other. That’s why the series of watercolors the Supporters (2001-2003) by Françoise Pétrovitch, which presents in frontal portraits, young individuals with the erased face behind a rally whose t-shirt bears the name.

It’s this changing state,biological and psychological, social and societal, that Sylvain Groud confronts on the stage in all its possibilities and contradictions.

It is the time of metamorphoses, the initiation of the mutation of the body. "The growths grow, they are visible" says Françoise Pétrovitch. The body grows and the child deforms, irreparably. It is the troubled age that fascinates and shapes civilizations, which seize it by the rite of passage. It’s the time for mime and imitation, role-playing and manipulation. The face faints behind the mask. Transparency and cleverness. In Adolescent, Sylvain Groud's choreography, usually simple and bare, will be clearly plastic, in an abstraction of bodies to better extract the sense of movement. Wigs, gloves, masks, by Françoise Pétrovitch could very well create the disorder on the identification of the bodies of girls and boys, by grimacing them of flat tints.

Crossing points of views

Each on his territory, Françoise Pétrovitch and Sylvain Groud represent bodies in presence, in posture, in action, which push us to move in our turn. They question the gestures, sometimes make them funny and exhaust them ad infinitum, by drawing or dancing. These two artists allow themselves to go everywhere and this is not their first time.

In Sylvain Groud's La Déclaration (2017) and Cordes (2008), beings confront and collide each other, assimilate and merge together, to the point of pileup. With Chambre 209 (2011), he danced in Jonathan Loppin's installation, or worked with videographer Grégoire Korganow for Memento Vivere (2015).

If Françoise Pétrovitch refutes any notion of storytelling in her work, her subjects are always in posture and her titles are often action verbs (Tenir debout, la Révérence, Rougir, se coiffer, le Geste, Etendus, Tenir). Dance is very present in Françoise Pétrovitch. We find in her drawings and the dance of the choreographer, the immediacy of the gesture, questioned in its continuity and in its end.

Finally, both of them are pursuing a work of observation and collection of intimate stories. An acuity on the real and the daily which is found in the precision of these gestures, which do not attract attention usually.

Marie Cherfils

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