À mon bel amour

Production 2019, duration 60 min



À mon bel amour questions our perception of the individual, the couple and the collective by exploring different conceits about identity and beauty. Eight dancers, four men and four women, toy nonchalantly with the poses they strike with their bodies and the symbolism of their dances to assert their identity and challenge the limits of our gaze. The gesture and purpose of the eight virtuoso dancers reflect different cultural references, different archetypes, different perceptions of the self and of others. From classical ballet to voguing, krumping, popping, contemporary dance and waacking, their dance cultures and on-stage movements allude to the fashion show, or photographic or cinematographic representation, the clubbing scene, the tradition of theatre, or to society’s trappings, thereby presenting manifold ways of approaching the audience. In À mon bel amour, everything is symbolic, not just dance movements and posture, but also appearances and clothing. Daring to show off, be flirtatious, assertive, dominating, to cock a snoop, to show love, they transcend themselves in order to exist. Like parading animals, the eight dancers advance towards us tirelessly, alone, in pairs, or collectively. In a world where we struggle to agree on values, can we arrive at a consensus about the concept of beauty?

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Cast

Choreography: Anne Nguyen
Dancers: Sonia Bel Hadj Brahim (waacking, popping), Arnaud Duprat (popping), Stéphane Gérard (voguing), Pascal Luce (popping, locking, waacking), Andréa Moufounda (contemporary dance), Sibille Planques (contemporary dance), Emilie Ouedraogo (krump), Tom Resseguier (ballet)
Original musics: Jack Prest
Fashion design: Manon Del Colle
Lighting design: Ydir Acef

Partners

Coproduction: La Villette, Paris; PACT Zollverein; Fonds Transfabrik – Fonds franco-allemand pour le spectacle vivant; Espace 1789 – Scène conventionnée danse.
Action financed by la Région Île-de-France; l’ADAMI.
With the support of: Théâtre 71 – Scène nationale de Malakoff; La Briqueterie – CDCN du Val-de-Marne; Centre des arts – Scène conventionnée pour les écritures numériques d’Enghien-les-Bains; Chaillot – Théâtre national de la danse; Centre de la danse de la Communauté Urbaine Grand Paris Seine & Oise; Scènes du Golfe, Théâtres Arradon – Vannes, Scène conventionnée; agnès b.; Théâtre de Choisy-le-Roi – Scène conventionnée d’Intérêt National – Art et création pour la diversité linguistique; Les Laboratoires d’Aubervilliers; CND Centre national de la Danse – mise à disposition de studio; La Maison des Arts de Créteil et du Val-de-Marne – Scène nationale; Théâtre Louis Aragon – Scène conventionnée d’intérêt national Art et création danse de Tremblay-en-France; Théâtre de Rungis.

The par Terre Dance Company is funded by l’Aide pluriannuelle du Ministère de la Culture et de la Communication / DRAC Ile-de-France, la Région Ile-de-France for “Permanence Artistique et Culturelle” and l’Aide au fonctionnement du Département du Val-de-Marne.
Anne Nguyen was awarded the 2013 SACD Nouveau Talent Choréographie prize and appointed Chevalier de l’Ordre des Arts et des Lettres in 2015. She has been an associated artist to Chaillot – Théâtre national de la Danse from 2015 to 2018.


« Anne Nguyen’s latest piece contains a powerful lyrical statement. […] Her hip-hop choreography probes the very premise of what gives individuals, couples, collective entities their personal and cultural identity. ”In a world where we struggle to agree on values, is it possible to reach a consensus on the idea of beauty?” »
Télérama – Rosita Boiseau (29 November 2019)

« Anne Nguyen is back with a warriors’ dance to beauty, exploring the ways in which the body transcends itself in images and postures to find its true existence. There is not the slightest hint of lyricism or romanticism in Anne Nguyen’s latest piece, despite the title. It is to be perceived rather as a declaration of love and a tribute to dance, the beauty of the physical gesture, an ode to movement and other cultures. […] Daring to expose and claim the body’s identity, the piece questions both the canons of beauty and our ways of existing, while interrogating the spectator’s gaze. »
La Terrasse – Nathalie Yokel (30 October 2019)

« The whole of the stage bristled with hypnotic, unfathomable gestures. Were they mirroring our own? »
Ouest France – Marie-Sophie Lehalle (12 October 2019)