Director 
Bernard Picard
From Ballet by 

Pyotr Tchaikovsky

Set Designer, Costume Designer

Simon Virsaladze

ChoreographyMarius Petipa
Conductor

Viktor Fedotov

cast

Princess AuroraLarissa Lezhnina

Prince DésiréFaurouk Ruzimatov

Lilac FairyYulia Makhalina

Cruel Fairy CarabosseVadim Guliayev

The KingGennady Babanin

The QueenNina Mikhailova

Babette Mangolte

(b. 1941 Montmorot, France; lives New York City)

Water Motor, 1978

16mm black-and-white film, 7:55 minutes

In 1978, Babette Mangolte made a film of famed choreographer Trisha Brown dancing a hyperkinetic solo called Water Motor. The first portion was filmed in "real time," at 24 frames per second, and the second at half-speed, or 48 frames per second. In the second take, Brown's movements appear elongated in time, the slowed frame rate making visible what was previously inaccessible to the naked eye. As Mangolte describes, "the movement takes on a luscious quality that informs the viewer of what was missed before." Filmmaker Yvonne Rainer called Water Motor "One of the best dance films ever made.

'Dancing Dreams. Aprendiendo a bailar con Pina Bausch' es un documental que recoge los progresos de un grupo de jóvenes que, durante diez meses, se reúnen todos los sábados para ensayar con la bailarina Pina Bausch, cuya intención es montar el espectáculo "Kontakthof", término para denominar a una casa de citas. La obra se estrenó en 1978 y tuvo una gran acogida.

Los alumnos pertenecen a familias muy dispares. Algunos son ricos y otros no, muchos de ellos no han bailado nunca mientras que otros dominan la danza. Sus pensamientos y opiniones, su manera de ver el mundo e incluso sus relaciones sentimentales van madurando al mismo tiempo que ellos mejoran como bailarines.

Gracias a dos bailarinas de la compañía, Joséphine Ann Endicott y Béatrice Billet, estos jóvenes llegarán a apreciar el sentido de la obra y el valor de su propio papel en ella.

Homenaje de Wim Wenders a la coreógrafa Pina Bausch. A lo largo del filme se representan algunas de las piezas más importantes de la compañía Tanztheater de Wuppertal, dirigida por Pina desde 1973, entre ellas, 'Café Müller' (1978), 'Kontakthof' (1978), 'Das Frühlingsopfer' (1975) y 'Vollmond' (2006). 

La cinta ha sido rodada en tres dimensiones, una tecnología que se había utilizado hasta el momento en grandes superproducciones y en películas de animación. Ahora, el 3-D, gracias a dos alemanes, Wenders y Werner Herzog (que también ha rodado así su 'Cave of Forgotten Dreams'), también accede al campo del documental de autor. 

La intención de Wenders con el 3-D era que el espectador se sintiera como si estuviera viendo el espectáculo desde la mejor posición del patio de butacas y que fuera una experiencia única. De esa forma las coreografías adquieren un poder visual y una plasticidad en la pantalla deslumbrantes. 

Pina Bausch murió antes de ver terminada la cinta, en julio de 2010, a los 68 años, cuando le fue diagnosticado un cáncer, pero su legado ha quedado así para siempre plasmado en una película hermosa y mágica, de una intensidad poética arrolladora. El amor, la soledad, el miedo y la lucha de sexo fueron algunos de los temas principales sobre los que Pina basó unas coreografías que comenzaron a conocerse como "teatro- danza", en las que no solo se bailaba, sino que se expresaban los sentimientos más descarnados a través de la actuación.

Duración: 46 Minutos 

La película de vídeo Roseland, dirigida por Walter Verdin, Octavio Iturbe y Wim Vandekeybus, está hecho de material de primeros tres coreografías Vandekeybus: What the Body Does Not Remember (1987), Les porteuses de mauvaises nouvelles (1989) y The Weight of a Hand (1990). Roseland coloca estos trabajos coreográficos en el entorno extraordinario de un cine de Bruselas en ruinas que ha sido abandonado por los últimos veinte años. Roseland recibió el Dance Screen Award por 'transformar la energía teatral de la coreografía en una experiencia dinámica de la pantalla, utilizando una amplia gama de técnicas cinematográficas.'

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Duration: 148 minutes

The Co(te)lette Film

The Co(te)lette Film is the film version of the dance production Co(te)lette. British director Mike Figgis was on board to direct this uncompromising film based on a concept and choreography by Ann Van den Broek. The film was selected for the segment ‘Belgian Cinema Today’ of the International Film Festival in Ghent.

In The Co(te)lette Film three women dance in a rather intimate atmosphere, caught between desire and fulfillment. No confrontation, rivalry, story, solution or ending; the storyline in The Co(te)lette Film is restless and empty.

“Devastated! Quite devastated! That is how you feel after watching Mike Figgis’s film version of Ann Van den Broek’s intense, controversial and award-winning choreography Co(te)lette. Afterward the discussion can flare up, as it does after every dance film, about the filmmaker’s contribution to this unique art form. One that reaches seldom seen heights thanks to the Flemish choreographer. With films such as Leaving Las Vegas, Mr. Jones, Internal Affairs on his résumé, Mike Figgis is not just anyone either. With Timecode he showed that he was not afraid to explore new narrative forms. In The Co(te)lette Film he again uses his tried and tested split-screen system. He uses it sparingly and it does not distract the viewer from the choreography itself.

It concerns three women who are confronted by their own bodies as well as the bodies of the other women. They also want to engage the spectators standing around the podium. Thanks to the camera work, which alternates between close-ups and long shots, the cinema audience is engaged as well. All the elements add up to a confrontational performance about desire, lust, fulfillment, attraction, rejection, seduction, searching, finding and not finding. Unlike the stage production, in the film there are spectators standing around the podium. When Ann Van den Broek won a prestigious Dutch dance award for Co(te)lette, the jury called it ‘a daring and fragile choreography, raw, confrontational and gripping’. There is no better way to describe the physical power of the performance. The scars on the dancers’ bodies are visible. Figgis’s camera is merciless.”

Source: Film Festival Ghent

director Mike Figgis

concept and choreography Ann Van den Broek

dance Frauke Mariën, Cecilia Moisio and Judit Ruiz Onandi

extra’s and understudy’s Erin Harty, Karen Lamberts and Emma Seresia

special extra’s Lie Antonissen, Surah Dohnke

première 19 October, 2010, Filmfestival Ghent (B)

other contributors: producers Vito Di Rosa and Bart Van Langendonck / Lighting cameraman Oliver Schofield / camera Mike Figgis /production designer Bernie van Velzen / editor Arlen Figgis / composer original music Arne Van Dongen / costume Catherine Van Bree / make up Alexandra Kourline / line producer Xavier Rombaut / co-producer Monique van Beek - WArd/waRD / producers NTR Bart Soepnel and Joost Van Krieken / associate producer Janine Dijkmeijer / first assistant director Aram Van de Rest / sound recordist Luc Cuveele / gaffer Laurens De Grande / camera assistant Kristof Meert / second assistant director Nathalie Teirlinck / constructor Merijn Sep / wardrobe assistantCharlotte Van Peel

The Co(te)lette Film is a co-production of Savage Film, a production company based in Brussels; the British Red Mullet; WArd/WaRD (NL/B) and the Dutch NTR. It was made with the financial support of the Nederlandse Mediafonds (Dutch Media Foundation) and the Vlaams Audivisueel Fonds (Flemish Audiovisual Foundation).

title : Cour d'honneur (2013)

conception and direction : Jérôme Bel

assisted by : Maxime Kurvers

with spectators : Virginie Andreu, Elena Borghese, Vassia Chavaroche, Pascal Hamant, Daniel Le Beuan, Yves Leopold, Bernard Lescure, Adrien Mariani, Anna Mazzia, Jacqueline Micoud, Alix Nelva, Jérôme Piron, Monique Rivoli, Marie Zicari

and performers : Isabelle Huppert, Samuel Lefeuvre, Antoine Le Ménestrel, Agnès Sourdillon, Maciej Stuhr, Oscar Van Rompay

texts extract : Médée by Euripide, French translation by Myrto Gondicas and Pierre Judet de la Combe, Le Prince de Hombourg by Heinrich von Kleist, French translation by Jean Curtis, Les Bienveillantes by Jonathan Littell, Polish translation by Katarzyna Kaminska-Maurugeon, L'École des femmes by Molière

music : Philipoctus De Caserta (Codex Chantilly), Scott Gibbons, Wolfgang Amadeus Mozart, Richard Wagner

thanks to : Didier Bezace / Théâtre de la Commune, Reinout Bussemaker, Romeo Castellucci, Cidalia da Costa, Anne Teresa De Keersmaeker, Pierre Fontes, Jean-Louis Mailles, Maison Jean Vilar, Christoph Marthaler, Marie-Josée Mas, Benoît Minvielle, Jean-Noël Obert, Colm O'Callaghan, Alice Pialoux, Alain Platel, Rosas, Björn Schmelzer – Graindelavoix, Johan Simons / NT Gent, Malgorzata Szczesniak, Nara Trochel, Lies van Assche, Anna Viebrock, Nina von Mechow, Krzysztof Warlikowski, Christophe Wavelet, Lina Zohair

production : Festival d'Avignon

coproduction : France Télévisions, Association R.B. Jérôme Bel (Paris)

For a long time, Jérôme Bel wanted to do a show on the memory of a theatre, on the memory of shows that would have been presented at it. We know that shows, stage performance properly speaking, leave nothing behind them except in the memory of the spectators who attended the performances. Because it is in fact the very nature of the live show to die, to disappear. Which is what creates both its grandeur and its weakness. It was in thinking of the Cour d'honneur of the Palais des papes, unquestionably one of the most symbolic theatre venues in France, that he imagined a solution: a show staging spectators who themselves relate their memories of this place and the shows they saw there. The spectators invited to take part in this project are theatre buffs or not. They are between 11 and 70 years old; they are students, teachers, graphic artists or nurses; they live in Vichy, Avignon, Paris or Clermont-Ferrand. Each in his or her own way, they offer an account of their experiences as spectators, good or bad. The challenges of this creation are therefore to attempt to quantify how shows are received by the spectators and to measure the influence of art on their life, thus in the Cour d'honneur. Because the spectator had to be given the place he or she deserved: the place of honour.