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MAGUY MARIN COMPANY

MAGUY MARIN

Searching until this very moment, with a constituent part, a company.

 

An attempt to work together that never ceases to be deeply moving. And being able to earn a living from it, by pure will power, with numerous co-workers. By dint of the confidence of the Créteil's Maison de la Culture, directed by Jean Morlock (from 1981 till 1990) ; but also with the help of enduring public aid.

 

1990, the company became the Centre chorégraphique national de Créteil et du Val-de-Marne, diligently continuing its artistic work and intensive international touring.

 

1998, a new site, a new administrative structure. A new territory for a new Centre chorégraphique national at Rillieux-la-Pape, in the Velette neighborhood. The need to once again invest public space. To celebrate the wealth of our difference and the pleasure of the living act of artistic creation. Building support to make possible what cannot be done alone. Collaboration between communities (Rillieux-la-Pape, Bron until 2006, Décines until 2006, Villefranche-sur-Saône until 2000 and Villeurbanne until 2003) and reciprocal public aid (Ministry of Culture, Region Rhone-Alps, General Council of the Rhone).

 

Then, in 2006, a new venue is built for the CCN in Rillieux-la-Pape The new place must now be dwelled in and co-dwelled in: a people's laboratory which is the essence of the performing arts meant for the gaze of the polis so as to induce a public poetic manifesto. 

 

Today the work continues in a plurality of territories - from the Studio, to the Velette neighborhood, to partnering towns, to as far away as cities of other countries.

Work intertwining new works, performances (the 600 shows of May B has been performed in Paris - Quartiers d'été in august 09), and multiform activities where artistic exigency opens paths that go beyond the immediate convivial desire for being together.

 

2011 is the year of a remodelling of the framework in which the company's reflection and achievements unfold. After the intensity of the Rillieux-la-Pape years, the need for a new phase is felt, coming from an anchoring in the city of Toulouse whose hospitality will encourage to go on opening the immaterial space of a relentlessly resilient togetherness.

 

Photo : BiT © Philippe Grappe

COMPAGNIE MAGUY MARIN

Programs

UMWELT

Premiered at the Toboggan in Décines, Novembrer the 30th 2004


Creation 2004 - New production 2013

Choreography and design : Maguy Marin

Music design : Denis Mariotte

Lighting design : Alexandre Béneteaud

Costume design : Cathy Ray assisted by Chantal Cloupet and Aurora Van Dorsselaer

Sound design : Loïc Goubet

Stage manager : Michel Rousseau

New production 2013 AssistantCathy Polo - Stage managerAlbin Chavignon

Sound : Antoine Garry - Costumes : Nelly Geyres

Length : 70 minutes

Piece for 9 dancers

Special price of the jury of Syndicat de la critique 2006 & Bessie Award 2008

 

 

It is not a question of doing the impossible but of exhausting the possible.

The world is complex.
That's what they say.
We never stop saying it.
We never stop believing it.
But this complexity entrenches us. Pushing us to believe in our own impotence.

Nevertheless, it's simple, we're still here, alive.
Active, regardless of everything.
Ceaselessly testing what is possible for us (small or large).

That's where we are.
Inventorying what is possible.
Toying with the possible without achieving it.
Going to the exhaustion of possibilities.
An exhaustion that renounces any order of preference and any organization of purpose or meaning. We don't prefer one over the other.
We don't achieve any more, even though we continue to accomplish.

And it's because we won't stop wanting to live, not only be born, to experiment, not only observe, that we extricate ourselves from the complexity.
So that the complexity becomes multiplicity.
So that the world is no longer complex, but multiple - plural.

A multiplicity where the exhaustion of that which is possible composes. Gives rhythm. A multiplicity filled with uninterrupted movements, with accelerating, with releasing. Constant alterations which give us the joy of the unpredictable.
The joy of giving ourselves the potential to act.

The joy of living our capabilities for transformation.
We're not made once and forever.
We don't know what a life - or a body - can do or be?
We don't know what postures and positions will spread from our interferences
(external and internal)? Positions, postures, accidents, dissonances, steps and paths, approaches, exhaustive positions setting off in diverse directions.

Unstable construction, where the encountered singularity extends itself into the proximity of another. A construction step by step.

A construction from the center of things.

And from the center, we will act.
A piece without foreknowledge, without exteriority.

Where the being-here of each individual will bring forth a poetics of being with the world.
A state of aliveness where the irreducible intersubstance and positioning in perpetual movement are in play. And so, we shall be here in shared time, shared space, shared environment.
Investigating - eight artists together - that which links things.

Catching a glimpse of the porosities.
And not personalities, merely anecdotal.
Again stating the necessity of addressing others, of the appeal of the indefinite.

"Others" as the "possible worlds" to which movements and objects confer an always variable reality. Others who have no other reality than that which their voice gives them in their possible world, and who are in themselves "stories" and "histories".

 

NOCTURNES

Premiere on September 19, 2012 at Villeurbanne (France)

 

Conception and realisation: Maguy Marin and Denis Mariotte

Technical direction and lights Alexandre Béneteaud

Props : Louise Gros

Costumes : Nelly Geyres with Raphaël Lo Bello 

Sound : Antoine Garry

Stage manager : Daniel Mariotte

Software development : Philippe Montémont

Trainee technical and lights : Charlie Aubry

Trainee props : Louise Mariotte

Piece for 6 performers

 

Maguy Marin collaborates with musician and composer Denis Mariotte once again.
Together, they created a choreography which confronts such essential themes as the body, history and the power of images. Although her work has become a classic of contemporary dance, Maguy Marin once again leaps into the unknown.

 

MAY B

Premiere the 4th November 1981 at the Théâtre Municipal d'Angers


Choreography : Maguy Marin

Costumes : Louise Marin

Original music : Franz Schubert, Gilles de Binche, Gavin Bryars

Lights : Maguy Marin company

Duration : 90 minutes

Piece for 10 dancers

 

 

 

"This piece based on the writings of Samuel Beckett, whose work contradicts in its theatrical movement and atmosphere the physical and aesthetic performance of a dancer, has enabled us to lay the grounds for a secret decyphering of our most intimate, hidden and ignored gestures. To succeed in unveiling the tiny or spectacular gestures of the many unnoticeable and unconspicious lives in which waiting and "not quit still" stillness create a void, a huge nothingness, a silent space filled with the hesitations. When Beckett's characters yearn for stillness, they cannot help moving; be it a little or a lot, they move. In this essentially theatrical work, the point, for us, was less to develop words and speech than blown-up form of movement, thus seeking the meeting point between movement applied to thea- ter on the one hand, and dance and choreographic language on the other."  Maguy Marin

 

 

 

" (...) She is blessed with a sense of fantasy and of the absurd - and in Samuel Beckett's plays, she has found a perfect focus for meditating upon life's absurdities. Like Beckett, she works with archetypal characters - his, in fact - and using universals, makes the human condition look very specific. The 10 dancers onstage are a composite of Beckett's characters, - their faces plastered with gray chalk that flies out as they move. Clad in illfitting night clothes, they trudge their alienated way in unison - remarkably precise in every movement - toward self-discovery. Sex is what they discover early on in a manic twitching sequence, but we also see them register an increasing range of emotions - hostility, fear and tenderness. (...)" 

Anna Kisselgoff - The New York Times

 

BiT - Création 2014

Premiere the september 17th 2014 at Théâtre de Garonne, Toulouse

Conception : Maguy Marin with the dancers of the company

Technical direction and lights: Alexandre Béneteaud

Sets and props : Louise Gros and Laura Pignon

Costumes: Nelly Geyres with Raphaël Lo Bello

Sound: Antoine Garry and Loïc Goubet

Stage management: Albin Chavignon

Set: Maguy Marin company

Music : Charlie Aubry

Duration: 60 min

Piece for 6 dancers

 

Coproduction : théâtre Garonne de Toulouse. Théâtre de la ville / Festival d'automne à Paris. Monaco Dance Forum - Les ballets de Monte-Carlo. Opéra de Lille. La Filature, Scène nationale de Mulhouse. Ballet du Nord - Centre Chorégraphique National de Roubaix Nord de Calais. Charleroi Danses - Le Centre chorégraphique de la Fédération Wallonie - Bruxelles. MC2: maison de la culture de Grenoble. Théâtre de Nîmes - scène conventionnée pour la danse contemporaine. Fondation CRT Milan en collaboration avec Change Performing Arts. Compagnie Maguy Marin

 

Rhythm is form whenever it is embodied in what is moving, movable, fluid, [...]. It is the improvised, transient, modifiable form.  Emile Benveniste *.

In that sense human life can be apprehended as a ceaselessly mutating form, "a walking path" **, a succession of instants that serve as the pulsation of a rhythm on a larger scale, the rhythm of a life- time. From one instant to the next, that rhythmicity is at once what is closest to us and yet remains the most unknown: every one of our gestures -gait, speech, reflexes- delineates rhythmic patterns composed of a sequence of instants.

Gradually, what we experience blends in step by step with what we have experienced earlier, already echoing, midway between memory and expectation, what we will experience at a later stage. The prospective odds, so plentiful at birth, narrow down progressively until they define the unique existence of a specific being, a rhythm that bespeaks one unique means of experiencing time. The display of alternatively slow or fast flows, of durations, starts, pauses, stresses, intensities, surges, pitches, tempi, permeates the present of a sensible experience marked by every past event and yet si- multaneously anticipating the sound of every event in time to come. As a result the manifold rhythms, the manifold fluencies emerge, those instants that constitute the many parts of the compass of a particular human life among other equally particular human lives; they all coexist within the whole compass of human generations and unite into pure musicality.

 

* Emile Benveniste, « La notion de rythme dans son expression linguistique », in Problèmes de linguistique générale, Gallimard, 1966.

 **Paul Klee, « La Pensée créatrice », Dessain et Tolra, 1973.

 

 

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