Photo © 2009. Nannette Bertschy & Ann Moradian.

looking at the world and challenging our assumptions, definitions and creation of it through the lense of the body, movement, the arts and science.

Monday, June 2, 2014

WORKSHOP: Physical Theatre

PHYSICAL THEATRE EXPLORATION
Monday, June 9, 2014 from 12h00-18h00 (20€ one-time offer!)

Colum Morgan and Ann Moradian are joining forces to bring their experience of body, being, theatre and voice together to deepen and explore embodied theatre. This first workshop is for actors and movers with performance experience. We welcome your joining us in this exploration!

Contact Ann Moradian at perspectivesinmotion(at)gmail.com


Brune Bazin, Maja Beeler, Lionel Rondeau and Jennifer Ferrari
in Ann Moradian's MEDUSA: The Birth of a Monster.
Photo (c) Alex Vanagas.


Thursday, May 8, 2014

Reflection: Bill Viola Retrospective at the Grand Palais

Grand Palais, Galeries nationales
through July 21, 2014
Paris

"Time
Cutting through the edges of water
Beating in slow motion
Reality dreams
the un-pondered possible"

(© Ann Moradian, April 2014)






Photo sequence by Geraldine Mignani (Thank you Geraldine!)

This exhibit is the largest retrospective ever dedicated to Bill Viola's Video Art. It can be seen here in Paris at the Grand Palais through July 21, 2014. This is also the first time in the history of the Grand Palais that video has been given exclusive place on the museum's walls. After seeing Viola's work, you will understand why. It is not 'Dance' in any traditional sense of the word, and yet his use of movement, relationships, the body and emotions strong and clear, flowing as easily into the genre of Movement Video as it does into the genre of Moving Art. (I suppose I view everything that moves through the lens of dance.) A leading figure in New Media Arts, his interest is, Viola says, "beneath they body, and beyond."

Go if you can! It is an experience.


http://www.grandpalais.fr/en/event/bill-viola



Tuesday, April 29, 2014

International Dance Day 2014

Celebrations going on world wide include an evening of dance at UNESCO in Paris. This year, Mourad Merzouki has been asked to share his "Message" about dance:

"Every artist takes pride in his art.

Every artist will always defend the art form whose encounter has changed his life.

For that which he has sought and lost and for that which he has the burning desire to share: be it the echo of a voice, the discovered word, the interpretation of a text for humanity, the music without which the universe will stop speaking to us, or the movement which opens the doors to grace.

I have, for dance, not only the pride of a dancer and choreographer, but profound gratitude. Dance gave me my lucky break. It has become my ethics by virtue of its discipline and provided the means through which I discover the world daily.

Closer to me than anything else, it gives me strength each day through the energy and generosity as only dance can. Its poetry comforts me.

Could I say that I wouldn’t exist without dance? Without the capacity for expression it has given me? Without the confidence I have found in it to overcome my fears, to avoid dead ends?

Thanks to dance, immersed in the beauty and complexity of the world, I have become a citizen. A peculiar citizen who reinvents the social codes in the course of his encounters, remaining true to the values of the hip-hop culture which transforms negative energy into a positive force.

I live and breathe dance daily as an honour. But I am living with this honour deeply concerned. I witness around me the loss of bearings and the inability of some of the youth from the working class, growing up in tension and frustration, to imagine their future. I am one of them; so are we all. I am driven, perhaps more than others, by setting an example, to help them fuel their lust for life.

For isn’t society richer with the richness of each of us?

Culture, more than any discourse, unites. So have courage and take risks despite the obstacles and the hatred with which you will no doubt be confronted; the beauty of the world will always be by your side. Like dance has been for me. With its singular force to eliminate social and ethnic distinctions, leaving but the movement of bodies in their essence, of human beings returning to their pure expression, unique and shared.

I would like to end by quoting René Char whose words remind me daily to not let anyone confine us to scripted roles.

“Push your luck, hold on tight to your good fortune, and take your risk. Watching you, they will get used to it.”

So try, fail, start all over again but above all, dance, never stop dancing!



Translation: Petya Hristova and Charlene Lim

For more information: http://www.international-dance-day.org/en/message.html

Saturday, March 29, 2014

Impression: James Thiérrée's Tabac Rouge


photo copyright Tabac Rouge

Reviewer's Notes:
Last year when James Thiérrée premiered his newest work, Tabac Rouge, he did not perform in it. In the past, the works he has made for his company, Compagnie du Hanneton, have not only centered around him as the principal performer, but have also been powered by his extraordinary skill and charisma as a performer. Hats off to Thiérrée for plunging into a new phase in his creative process with honesty, courage and moments of brilliance.

I have been a bit late in getting to this program, and in writing it up. But definitely better late than never in this case!

To read my "Impression" of Tabac Rouge for The Dance Enthusiast, click here

--
Ann Moradian

Thursday, February 20, 2014

Impression: The Rime of the Ancient Mariner

Fiona Shaw & Daniel Hay Gordon performing at Bouffes du Nord in Paris. For Ann Moradian's IMPRESSION of this work for The Dance Enthusiast, click here.

Photo (c) Richard Hubert Smith

Reviewer's Notes:
It all started with rehearsals in director Phyllida Lloyd's kitchen. Fiona Shaw (who you may know as Aunt Petunia in the Harry Potter films, but she has done so much more!) and Lloyd were just thinking to present something relatively informally for their friends, they said at the Q&A following the performance I attended, as a way of bringing poetry to life through theatre. And while the costumes remain pretty ordinary (simple black t-shirts and trousers), it has long left the kitchen and the UK, to travel through Greece, the US and most recently Paris at Peter Brook's dream of a theatre, Theatre des Bouffes du Nord.

It was interesting to learn that the single dancer, in the form of Daniel Hay-Gordon, was originally a chorus of 6 male dancers. Only Danny, Shaw explained, could move through the physical images quick enough to keep pace with the rhythm of her text. Brought to life vividly by this team of artists, it will be long while yet before it returns to a quiet existence in the private domain of Phyllida Lloyd's kitchen.
--
am

Monday, February 3, 2014

The Chant of Medusa

The Chant of Medusa © Ann Moradian. All rights reserved.

I do not ask to know
knowing that knowing is past;
knowing that knowing now
means living now, no more.

I do not ask to know
knowing that knowing cannot be held;
knowing that knowing cannot be held,
alone.

I do not ask to know
knowing that knowing is moving, through time;
knowing that knowing
knows only a moment.

I do not ask to know
knowing that knowing is memory
of a moment before.
Trapped in a moment, motionless
for a lifetime, knowing
a memory.
Living now no more.

Living now, no more.
Moving forward with the moment that is now
now now
now --
Knowledge carries me in its arms.
Dare I see?

I do not ask to know
knowing that knowing cannot be held;
knowing that knowing
can only be known being held.
I ask to be-held and be-hold.
Sharing this moment in time and space;
beholden to each other by membering the moment that is now
now now
now --

--Ann Moradian, July 25, 2009