Le Laboratoire chorégraphique #4

Alban Richard discovered contemporary dance while studying literature and music. In the late 1990s, he began working with choreographers such as Odile Duboc, Olga de Soto and Rosalind Crisp…

In 2000, Alban Richard founded the ensemble l’Abrupt, for which he has created some thirty very different pieces, always closely linked to a musical work whose writing and formal structure he questions. In this way, each creation opens up a new line of research, a new gestural approach that stands out from the previous one. The way in which he develops his shows, with a stage script nourished by constrained improvisations, encourages the performers to become creators of their own dance.

Alban Richard has collaborated with ensemble Alla francesca, Les Talens Lyriques, L’Achéron, Percussions de Strasbourg, Ensemble Intercontemporain, IRCAM and ensembles Cairn, Instant Donné and Alternance, as well as composers Arnaud Rebotini, Sebastian Rivas, Erwan Keravec, Jérôme Combier, Laurent Perrier, Raphaël Cendo, Robin Leduc, Paul Clift, Wen Liu, Matthew Barnson…

A prolific choreographer, Alban Richard is regularly invited by ballets and companies, both internationally (Canada, Lithuania, Czech Republic, Norway) and in France, to create commissioned works.
Since 2015 he has directed the Centre Chorégraphique National de Caen en Normandie, with a project based on both an authorial approach and work in connection with the territory and its inhabitants.

ccncn.eu

Producer of the program Le Cri du Patchwork on France Musique from 2014 to 2019, Clément Lebrun’s career combines mediation, musicology, pedagogy and the practice of music without borders. Trained at the Sorbonne and the CNSM de Paris, he currently teaches mediation (Université de Paris III-Sorbonne Nouvelle; CNSM de Paris). As a musician, Clément Lebrun co-directs OMEDOC, an experimental music ensemble, to promote creation in all its forms. Equally inspired by free-jazz, ska-punk, Gregorian chant, Renaissance and contemporary music, his activities as a mediator have led him to work with conductors such as Christophe Rousset, Daniele Gatti, Matthias Pintscher and Emilio Pomarico at institutions such as Ensemble Intercontemporain, Talens Lyriques, Orchestre National de France, Orchestre National Bordeaux-Aquitaine, Orchestre de Paris, Théâtre de Caen, Auditorium du Louvre and Philharmonie de Paris. He is also the designer of ODIA Normandie’s Kit – Musique en Jeu(x), an educational tool for practicing creative music. Since September 2023, Clément Lebrun has been an associate artist at TAP, scène nationale de Poitiers.

Laure Guilbert has had a dual career as an editor, responsible for dance publications at the Opéra national de Paris, and as a historian, specializing in the relationship between dance and politics. A regular university lecturer, she also co-founded the Association des Chercheurs en Danse (aCD) and its digital journal, Recherches en Danse. Currently working as an independent researcher, she is engaged in long-term research into the exile and deportation of the Central European choreographic avant-garde in the 1930s and 1940s. Supported by the Fondation pour la Mémoire de la Shoah, she will be a visiting researcher at the Max Planck Institute in Berlin in 2023.

Her theoretical-practical approach combines artistic empiricism with the scientific foundations of movement training. Her work, based on perception, observation and analysis, helps refine the quality of coordination specific to the art of dance. This research is based on the integration of children’s motor skills. For her, expertise in dance gesture must preserve the dancer’s health, biological coherence and artistic intentionality. She has been involved in DE and CA training for over 25 years, and runs numerous continuing education courses. She is training a new generation of AFCMD practitioners at the CESMD in Poitiers, and developing work around the posture of the musician and manual therapists (osteopathy, physiotherapy, art therapy).

Florentine and Alexandre Lamarche-Ovize have been working together since 2006, developing a resolutely hybrid, migrant and fragmented practice that blends sculpture, drawing, photography, objects and posters. Their installations are only a pause in their work, conceived as a continuous flow of research, a perpetual rethinking of the forms and signs they use.
Their work has recently been the subject of numerous solo exhibitions: at the Musée des Beaux-Arts in La-Chaux-de-Fonds and at the CRAC 19 in Montbéliard in 2022, at the FRAC Normandie in 2020, and at the Grand Café in Saint Nazaire in 2017. An exhibition will be dedicated to them at MASC Sables d’Olonne in 2023. They have received numerous commissions for site-specific works: at the Fondation Thalie (Brussels), at the Café Mulot of the Maison Victor Hugo (Paris) in 2021, and at the Drawing House hotel (Paris) in 2022. Their work can be found in public collections such as the CNAP, Frac Pays de la Loire, Frac Midi Pyrénées, Cité de la céramique in Sèvres, Musée National de Monaco. They are the winners of the solo Journe prize, awarded by Nicolas Bourriaud, Éric Mangion and Björn Dahlström in July 2022.

Marin Fouqué @marinfouque lives and works in Seine-Saint-Denis. In 2019, he wrote 77(@actessud), a critically acclaimed first novel. In 2021, he published G.A.V (Actes Sud), which won numerous awards, including the Alain Spiess Prize for best second novel.

“As a child, I grew up between asphalt and mud, between silence and emptiness, in a small village in Seine-et-Marne. In 2010, I entered the Beaux-Arts de Cergy art school, where I discovered sculpture, video and sound installation. In 2015, I presented a performance course for my D.N.S.E.P., which I won with the congratulations of the jury. A lover of rap and French chanson, I write poetry. I soon realized how few people read contemporary poetry. So, in order to find an audience, I start writing it. The first ears are the ones I find: on the street, in bars and at punk concerts. To be honest, the public isn’t necessarily receptive. To be even more honest, I write too badly, too heavy, too literary, not musical. Little by little, I’m listening to my sentences. My writing mutates. It has to sound. It has to hit. And resonate.

Elisabeth Taudière is an architect and director of Territoires pionniers | Maison de l’architecture – Normandie.

Within Territoires Pionniers, she initiates and leads unique field projects: workshops, residencies, meetings and public events. Its aim is to play an active part in the ecological and social transformation of the region, by opening up spaces for exchange and experimentation involving residents, professionals, elected representatives and local players.

Since 2010, she has welcomed architects in residence, whose creative and collective approaches aim to gain a better understanding of living environments, and to rethink ways of living in order to take care of them. In 2021, with Marin Schaffner, she published a collection of testimonials and critical feedback, Révéler, cultiver, réhabiter. A look back at a decade of architects in residence to celebrate the 10th anniversary of the Laboratoire des territoires. Since 2017, she has co-piloted the “residencies” working group within the Réseau des Maisons de l’architecture.

Since its creation in 2019, she has been in charge of “Chantiers communs”, a cultural event organized by Territoires pionniers en Normandie. For her, the implementation of this project creates the opportunity to bring together players and audiences from diverse backgrounds around a high point that tells the story of the territory around three major projects: “inhabiting the environment”, “building with the territory” and “preparing for climate change”.

In 2024, she initiated the “Nous sommes Orne” watershed cultural project run by Territoires Pionniers with CPIE Vallée de l’Orne and Collines Normandes, Le Dôme and Le Pavillon.

His research into peripheral sounds and the ways in which he plays and listens to his instrument, far removed from his native culture, has led him to explore improvised music, from free jazz to noise, and to build up a repertoire of contemporary music for solo bagpipe, trio with voice and choir. Curious about movement, relationships and situations conducive to reinvention, he also composes, plays and improvises for dance.

version n°1 dated 09/30/2024
Validity of version n°1: 1 year renewable

Course description/content of the training

Week 1	Choreography > Alban Richard (daily practice, workshops) Médiation de l’Écoute > Clément Lebrun Music > Erwan Keravec, analysis and practice of BLIND Architecture | Elisabeth Taudière, inhabiting spaces, creating situated projects Programming meetings Creation of two evening performances	This week is led by the educational consultant and the speakers from Week 1, in the form of group support. We propose: > to take part in workshops to experiment and test. > to attend lectures to learn. > to take part in round tables to exchange and confront our points of view. > to contribute to the programming and activation of evenings of situated performances.
Week 2	Choreography > Alban Richard (daily practice, workshops) Functional analysis of the body in dance movement > Nathalie Schulmann Drawing > Florentine Lamarche-Ovize Philosophy > Cynthia Fleury ou Geoffroy de Lagasnerie Music > Déborah Lennie Programming meetings Creation of two evening performances	This week is led by the educational consultant and the speakers from week 2, in the form of group support. We propose: > to take part in workshops to experiment and test. > to attend lectures to learn. > to take part in round tables to exchange and confront our points of view. > to contribute to the programming and activation of evenings of situated performances.
Week 3	Choreography: Alban Richard (daily practice, workshops) Analyse Fonctionnelle du Corps dans le Mouvement Dansé > Nathalie Schulmann History > Laure Guibert Poetry-performance > Marin Fouqué Music: Programming meetings Creation of two performance evenings Training summary	This week is led by the pedagogical referent and the speakers from week 3, in the form of collective support. We propose: > to take part in workshops to experiment and test. > to attend lectures to learn. > to take part in round tables to exchange and confront our points of view. > to contribute to the programming and activation of evenings of situated performances.

Number of traines minimum / maximum

Lower limit: 12 choreographers, composers, performance artists
Upper limit: 16 choreographers, composers, performance artists

Educational objectives

Knowledge

• A critical approach to the cultural history of dance at the crossroads of the ^20th and ^21st centuries – transformation of contemporary aesthetics and writing.
• Cultivate a taste for reading works – open up interpretative avenues linked to your own project.
• Recognize and understand the different imaginary worlds and beliefs of choreographers – the sources and currents with which they identify – filiations and ruptures.

Expertise

• Question and construct your own dance practice through the experience of an identified repertoire. What knowledge is required? What tools are needed?
• Interrogate the choreographer/performer dialogue. Enter into the exercise of recognizing and sharing skills and creativity.
• Practical conditions and strategies for implementing a choreographic project.

soft skills

• Be both autonomous and responsible in your work. Curious and generous towards others, so as to get involved in a collective project.
• Find your place in a team and be able to open up a collaborative and creative dialogue with the whole workgroup.
• Share your experience in implementing the project and get involved in its mediation.
• To understand what is at stake between ourselves, others and the world, our ability to adapt requires that each and every one of us be able to identify not only our environment, but also the elements that underpin our individuality.
• Our intimate beliefs, our family or professional contexts, our horizons of expectation are all filters that impose our limits and distance us from our potential. How can we create the right conditions for our individual, social and emotional environment? How can we get rid of our identifications and fears?
• Can we constitute ourselves as individuals capable of acting on and working on our capacities for adaptation and choice, whatever our age, experience or expertise? These questions are all the more pressing as an artist…

Targeted competencies / operational objectives

At the end of the training the beneficiary will be able to :

• Question your own writing practice
• Imagine new ways of relating to and dialoguing with all employees when building a project.
• Explore the knowledge required and the tools needed to compose a choreographic project in conjunction with other arts.
• Understand the practical and strategic conditions required to implement a choreographic project in conjunction with other arts.
• Think about where and how to meet the public.

Methods used

• Theoretical and practical group classes given by choreographers.
• Rehearsals and research time for beneficiaries without supervisors to reinforce autonomy in work
• Meetings with the artistic director to discuss the trainee’s career path

These 18 days of sharing will bring together guests from a variety of backgrounds: musicians, architects, philosophers, poets, historians, visual artists…

We propose :

• Participate in workshops to experiment and experience
• Attend lectures to learn more
• Take part in round-table discussions to exchange and compare points of view
• Contribute to the programming and activation of evening performances located

Monitoring and evaluation methods

During the course, face-to-face

• Evaluation of the beneficiary’s reactivity and ability to integrate the suggestions made by the consultant.
• Feedback from public presentations/performances

The beneficiaries sign a sign-in sheet for each half-day.

At the end of training

The trainee receives a certificate at the end of the course, stating the objectives, nature and duration of the action, and the results of the assessment of the training acquired, as well as the certificate where applicable.

Performances outside the training framework enable us to follow the career development of the artist and his ensemble after the training courses, and in particular to evaluate the quality of the performance and the number of shows given.

Qualitative assessment methods

The trainee fills in a qualitative evaluation form to assess the artistic, pedagogical, human and material aspects of the training.
A post-training follow-up is established, for which trainees are asked to inform us within six months of the end of the training of the contracts they have obtained.

Accessibility and consideration of disability situations

The Royaumont Foundation has made the acceptance and participation of people with disabilities a strong commitment to its project. Our training courses are open to people with disabilities and different arrangements can be made according to the specificities of each course. To discuss your needs, please contact us when you register, or get in touch with our disability advisors.

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