Aurelien Bory and Kaori Ito take an experimental leap forward in the use of light, sound and movement. The purpose of this creation is to explore the relationship between the outer, physical body of the dancer and her inner world.
This year, London International Mime Festival featured the restaging of Compagnie 111’s Plan B, the surreal interpretation of a white-collar worker’s dream. The piece, which originated 2003 with the encounter of circus artist Aurélien Bory with actor Phil Soltanoff, is a well-calibrated mix of circus and physical theatre that twirls as a dance and transports you into a Magritte-like world.
It’s a pretty daring thing to make a piece of machinery – albeit an impressive piece of machinery – the focal point of a dance-theatre performance, but Compagnie 111’s artistic director Aurélien Bory needed only the first few seconds of Sans Objet to arrest the audience’s attention.
Dans la mise en scène sobre mais monotone d'Aurélien Bory, la création de Wolfgang Mitterer peine à retenir l'attention malgré la belle prestation des Cris de Paris.
Le célèbre opéra de Wagner était très attendu au Théâtre du Capitole, dans une production nouvelle et locale, menée par le metteur en scène toulousain Aurélien Bory et la baguette de Frank Beermann.
After a career in the legal field where she combined her job as an Attorney at Law with collaborative roles in various local and international cultural enterprises, Cristina de Lucas turned to dance research and criticism in 2009, when she moved to London. She obtained her doctorate from the Department of Dance at the University of Roehampton (London). Her fully-funded thesis focused on the confluence between dance and narrative in the repertory of the British choreographer Kenneth MacMillan. Her research has received several awards, such a full Vice-Chancellor scholarship and the 2014 SDHS Graduate Student Travel Grant. She also reviews dance and cinema, contributing regularly to several publications in Spain and UK.
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