×

Cie Philippe Saire
Av. de Sévelin 36
1004 Lausanne
Suisse

+41 21 620 00 12 info@philippesaire.ch

Newsletter

Teaser Actéon

Here's the teaser of Actéon!
Booking and infos: theatresevelin36.ch

Actéon, création 2018

La nouvelle pièce de Philippe Saire, Actéon, sera présentée au Théâtre Sévelin 36 du 14 au 25 novembre 2018.
Librement adaptée du mythe grec éponyme ; l’histoire de ce chasseur changé en cerf par la déesse Diane et déchiqueté par ses chiens. Centrée avant tout sur le mouvement, la pièce prend place dans l’univers fascinant, étrange et controversé de la chasse. Le mythe d’Actéon, tel qu’il est ici adapté, questionne de façon allégorique notre rapport au sauvage, une certaine « utopie de la nature » dont le discours du chasseur se fait l’emblème. Les notions de transgression, de métamorphose et de punition marquent ces allers-retours entre l’ordre physique et le merveilleux.

theatresevelin36.ch

Interview - Vertigo (FR)

Philippe Saire was invited by Pierre-Philippe Cadert in Vertigo, La Première.

He talks about his relationship to dance, and above all about his last piece, Ether.

Listen to the program (in French): https://goo.gl/6mMdCF

Photos Ether

First pictures of Ether!

This duo is the fourth part of a series of choreographic works in convergence with visual arts. Ether plays on a new aspect of our visual perception: the versatility of bodies in a smoked-filled and vanishing point-structured space, on the line between presence and absence.

The piece premiers April 25th - 29th at Théâtre Sévelin 36, Lausanne. Info and booking: https://www.theatresevelin36.ch

Ether - teaser is online!

This duo is the fourth part of a series of choreographic works in convergence with visual arts. It plays on a new aspect of our visual perception: the versatility of bodies in a smoked-filled and vanishing point-structured space, on the line between presence and absence.

25-29 April, Théâtre Sévelin 36, booking: theatresevelin36.ch
Wed & Thu 7pm, Fri & Sat 8pm, Sun 5pm  ;  15.-/10.-

Les Sirènes - Avant-première à la Cinémathèque Suisse

La Cinémathèque Suisse et le Théâtre de Sévelin 36 proposent la projection en avant-première du nouveau court-métrage de Philippe Saire, le dimanche 11 mars à 19h15.

Après les Cartographies (2002-2012), cette œuvre initie une nouvelle série de vidéos-danse liés à des performances in situ. Chaque opus transcrit un " chant " de l'Odyssée d'Homère, prenant comme modèle la transposition qu'en fait James Joyce dans Ulysse : personnelle et contemporaine.
Dans le film qu’il réalise ici, Philippe Saire part d’une situation très concrète pour glisser peu à peu vers une appropriation très libre du mythe. Trois jeunes femmes en fin de soirée, à l’instar des Sirènes, trompent leur impossible paix et la violence de cet impossible en se métamorphosant en naufrageuses. Elles nous entraînent dans la quiétude des flots.
De Philippe Saire Avec Kim Ceysens, Maëlle Desclaux, Maïté Jeannolin

Casino de Montbenon Lausanne, dimanche 11 mars 2018, 19h15 (14 min)
Entrée gratuite, inscription conseillée
La projection est suivie d’une verrée ; précédée des spectacles de Oona Doherty et Edouard Hue.

Black Out, le film – Projection à Lausanne

Première publique de Black Out (2017, 17min), précédé de Vacuum (2016, 6min), dimanche 15 octobre 2017 à 11h, aux Galeries Pathé, Lausanne.
La projection est suivie d’une intervention de Stéphane Bouquet, écrivain et critique.

Loin de se résumer à de simples captations de spectacles, les travaux vidéos de Philippe Saire sont conçus comme des projets à part entière. Après plusieurs courts-métrages (Blind Date, [ob]seen, Faire Diversion, …), ainsi que la série Cartographies, qui se concentrait sur des chorégraphies in situ et était l’occasion de collaborer avec plusieurs réalisateurs de renom, ces deux films courts sont inspirées des spectacles éponymes. Ces derniers s’inscrivent dans une série en cours intitulée Dispositifs et explorant les frontières entre danse et arts visuels.

CUT revient à Lausanne dans le cadre du Programme Commun

Après une Première en novembre dernier, la dernière création de Philippe Saire entamait une tournée à Neuchâtel, puis Darmstadt pour une première allemande avant de passer par Berne et Bienne. Nous sommes très heureux que CUT revienne à Lausanne les 30, 31 mars et 1 avril 2017, et ce dans le cadre du Programme Commun – piloté par le Théâtre de Vidy et l’Arsenic.

Cette pièce chorégraphique pour 5 danseurs sera présentée au Théâtre de Sévelin 36 le jeudi 30 mars à 20h30, le vendredi 31 mars à 21h et le samedi 1 avril à 19h30. Réservations et informations sur le site du théâtre ou par mail.

×

Cie Philippe Saire
Av. de Sévelin 36
1004 Lausanne
Suisse

+41 21 620 00 12 info@philippesaire.ch

Newsletter

Teaser Actéon

Here's the teaser of Actéon!
Booking and infos: theatresevelin36.ch

Actéon, création 2018

La nouvelle pièce de Philippe Saire, Actéon, sera présentée au Théâtre Sévelin 36 du 14 au 25 novembre 2018.
Librement adaptée du mythe grec éponyme ; l’histoire de ce chasseur changé en cerf par la déesse Diane et déchiqueté par ses chiens. Centrée avant tout sur le mouvement, la pièce prend place dans l’univers fascinant, étrange et controversé de la chasse. Le mythe d’Actéon, tel qu’il est ici adapté, questionne de façon allégorique notre rapport au sauvage, une certaine « utopie de la nature » dont le discours du chasseur se fait l’emblème. Les notions de transgression, de métamorphose et de punition marquent ces allers-retours entre l’ordre physique et le merveilleux.

theatresevelin36.ch

Interview - Vertigo (FR)

Philippe Saire was invited by Pierre-Philippe Cadert in Vertigo, La Première.

He talks about his relationship to dance, and above all about his last piece, Ether.

Listen to the program (in French): https://goo.gl/6mMdCF

Photos Ether

First pictures of Ether!

This duo is the fourth part of a series of choreographic works in convergence with visual arts. Ether plays on a new aspect of our visual perception: the versatility of bodies in a smoked-filled and vanishing point-structured space, on the line between presence and absence.

The piece premiers April 25th - 29th at Théâtre Sévelin 36, Lausanne. Info and booking: https://www.theatresevelin36.ch

Ether - teaser is online!

This duo is the fourth part of a series of choreographic works in convergence with visual arts. It plays on a new aspect of our visual perception: the versatility of bodies in a smoked-filled and vanishing point-structured space, on the line between presence and absence.

25-29 April, Théâtre Sévelin 36, booking: theatresevelin36.ch
Wed & Thu 7pm, Fri & Sat 8pm, Sun 5pm  ;  15.-/10.-

Les Sirènes - Avant-première à la Cinémathèque Suisse

La Cinémathèque Suisse et le Théâtre de Sévelin 36 proposent la projection en avant-première du nouveau court-métrage de Philippe Saire, le dimanche 11 mars à 19h15.

Après les Cartographies (2002-2012), cette œuvre initie une nouvelle série de vidéos-danse liés à des performances in situ. Chaque opus transcrit un " chant " de l'Odyssée d'Homère, prenant comme modèle la transposition qu'en fait James Joyce dans Ulysse : personnelle et contemporaine.
Dans le film qu’il réalise ici, Philippe Saire part d’une situation très concrète pour glisser peu à peu vers une appropriation très libre du mythe. Trois jeunes femmes en fin de soirée, à l’instar des Sirènes, trompent leur impossible paix et la violence de cet impossible en se métamorphosant en naufrageuses. Elles nous entraînent dans la quiétude des flots.
De Philippe Saire Avec Kim Ceysens, Maëlle Desclaux, Maïté Jeannolin

Casino de Montbenon Lausanne, dimanche 11 mars 2018, 19h15 (14 min)
Entrée gratuite, inscription conseillée
La projection est suivie d’une verrée ; précédée des spectacles de Oona Doherty et Edouard Hue.

Black Out, le film – Projection à Lausanne

Première publique de Black Out (2017, 17min), précédé de Vacuum (2016, 6min), dimanche 15 octobre 2017 à 11h, aux Galeries Pathé, Lausanne.
La projection est suivie d’une intervention de Stéphane Bouquet, écrivain et critique.

Loin de se résumer à de simples captations de spectacles, les travaux vidéos de Philippe Saire sont conçus comme des projets à part entière. Après plusieurs courts-métrages (Blind Date, [ob]seen, Faire Diversion, …), ainsi que la série Cartographies, qui se concentrait sur des chorégraphies in situ et était l’occasion de collaborer avec plusieurs réalisateurs de renom, ces deux films courts sont inspirées des spectacles éponymes. Ces derniers s’inscrivent dans une série en cours intitulée Dispositifs et explorant les frontières entre danse et arts visuels.

CUT revient à Lausanne dans le cadre du Programme Commun

Après une Première en novembre dernier, la dernière création de Philippe Saire entamait une tournée à Neuchâtel, puis Darmstadt pour une première allemande avant de passer par Berne et Bienne. Nous sommes très heureux que CUT revienne à Lausanne les 30, 31 mars et 1 avril 2017, et ce dans le cadre du Programme Commun – piloté par le Théâtre de Vidy et l’Arsenic.

Cette pièce chorégraphique pour 5 danseurs sera présentée au Théâtre de Sévelin 36 le jeudi 30 mars à 20h30, le vendredi 31 mars à 21h et le samedi 1 avril à 19h30. Réservations et informations sur le site du théâtre ou par mail.

Actéon spectacle On tour ×

A dance piece for 4 dancers, Actaeon reinterprets the eponymous Greek myth, the story of the hunter turned into a stag by the goddess Artemis then torn apart by hounds.
Focused mainly on movement, the piece unfolds in the fascinating, strange and controversial world of hunting. The myth of Actaeon, as it is adapted here, allegorically addresses our relationship with the wild, a certain “utopia of nature”, which is symbolised by the hunter’s views.
60 min


Often for me, a future project depends on the ones that have come before. It is either in continuity or reaction to previous works or rooted in ideas that were outlined, and whose potential remains, but were not a priority at the time. These ideas then resurface, grow and become essential.
After several productions in which the set design has played an important role, I am aiming to return to the body as the only vector, to focus my work on elaborate and delicate choreography and the dancers’ performance – areas I have always paid great attention to and to which I now wish to give precedence again.
A clean set.
Here, I focus on the myth of Actaeon and the world of hunting and I wish to work on this dance piece with a protocol that addresses the fabrication of images and actions.
By fabrication I mean a process that ostensibly presents dance or an image to the audience, deconstructs it, builds a new one, breaks with the flow, while still potentially diving into a more developed sequence and seeking sensations. The aim is to play on the wide-open gap between what is being built under our gaze and the sensitive immersion that is deployed and ultimately, to push to the limits a beautiful convention of performing arts, i.e. the suspension of disbelief.


The best-known version is Ovid’s, in his Metamorphoses:
As he returns from hunting, the famous hunter Actaeon gets lost in the woods and stumbles into the goddess Artemis bathing with her nymphs. Furious that Actaeon has seen her and with no weapon within reach, she plunges her hand into the pool and throws water on Actaeon’s face and hair. “Now, go and say you saw me naked, if you can, you have my consent”, she tells him.
Actaeon is unable to say what happened to him as he suddenly loses the power of speech. Horns start growing on his head. His arms turn into legs, his hands into hooves, his skin into hide. Transformed into a stag, he flees into the forest. The only thing he retains from his former personality is his self-awareness. As he runs through the forest, he hears his blood-thirsty dogs chasing him. The hunter becomes the hunted. As his hounds catch up with him, Actaeon tries to call to them, “I am Actaeon! Recognise your master!” But all the dogs can see is a stag and throw themselves at him with ruthless ferocity, tearing at him and ripping him to shreds.

Interpretations of the myth are multiple and some versions differ from Ovid’s, who adapted an oral tradition himself. Ovid’s interpretation highlights ideas of transgression, metamorphosis and punishment, which lie at the heart of the myth.
There is no desire in Philippe Saire’s choreography to simply illustrate Ovid’s version, but rather to focus on the issues it addresses.
New perspectives present themselves if Artemis is considered as a matrix, a physical being and the woods themselves, the spirit of the forest who gives birth to a vast number of species and forms which all keep their original kinship with the network of material connections that breathe through the forest.
Furthermore, including in this original kinship the men who penetrate the forest, enables us to address in a particular way the myth of Actaeon, a man who, because of a turn of events, finds himself on the side of the animals (the animals he has just killed): the ultimate moment of his transgression.


Metamorphoses in general, and this story in particular, use the trope of metamorphosis to express a materialist philosophy of reality according to which all tangible substances come from the same original matter. In Ovid’s mythical world, all living species remain closely linked since they are the fruit of the same womb. The possibility that one creature may transform into another refers to this shared underlying material nature. The metamorphosis itself (from the Greek meta and morphê, to change the form) is a sort of birth or rebirth, in as far as a material form returns to its matrix to take a new form. This pre-formal kinship of the whole of creation which enables humans to transform into animals, trees, flowers and other phenomena in the forest, is the recurrent materialist theme in Metamorphoses.
This story causes a striking effect on the reader, since while Actaeon literally loses his anthropomorphic stature, the stag he turns into becomes more human. Now that Actaeon has turned into a stag, we can now feel its cruel destiny, as if it was a human being. Oppositions crumble. The world reveals its false pretences, its indisputable false pretences.
Like Actaeon, we are forced to admit that forms in the world are transient, illusory and reversible. All things, whatever their formal nature, come from a more primitive form of nature. Such was the terrifying revelation that Actaeon was given to see that very day in the woods, where he had the ambiguous privilege of seeing the dea silvarum naked.


The project is based on a desire to work on fabrication. It is a concept that is dear to me, intellectually and emotionally.
The process plays on detachment, showing how actions and images are built and deconstructed, interrupting them and offering them to the audience.
In parallel, and this is essential, I sometimes wish to leave that detachment behind and allow for total immersion into sensations, for both the audience and the dancers.
This interplay will enable me to instil a strangeness and particular set of codes into this creation.
The process will also enable us to add a touch of lightness in a myth that includes a lot of tragedy.
The aim is also to work to ensure that the images and actions become almost unfamiliar, so that one might find oneself in that state where one recognises something without really being able to identify it – working on the simulacrum: “It reminds me of… but it’s not exactly that.”

“A simulacrum is not a degraded copy. It harbours a positive power which negates both the original and the copy, the model and the reproduction. It is the triumph of the false pretence.”
Michel Foucault, The Logic of Sense

Woking on a bare set: For me, this means giving precedence to the performers, the performance, and the reactivated pre-eminence of choreography.
I wish to work on senses and sensations, to seek to keep them alive in the choreography and thereby activate the same elements in the audience. What may seem obvious for any dance piece becomes a leading factor for me here.
The aim is to access what is beyond the hunter’s imagery, to work on uncovering intimacy, on flaws and the jostling of bodies, that silent place in people that echoes the silence of animals.


A bare set is a choice – a choice to refocus on dance and the performers.
Nevertheless, I wish to generate a set inspired by the forest, to give a few elements without seeking to represent it. A space that moves between shadows and patches of light, a disorienting space where one can easily get lost to the point of unknowingly revisiting the same spot.
With regard to technique, I will use battery-powered LED projectors, which will be held by the dancers during the performance, thereby perpetuating the fabrication system that will feature in the rest of the creation.
Of course, I wish to have a soundtrack inspired by the rustle of the forest and the sounds of hunting. Like the stage set, the aim is not a reproduction but rather a simulacrum.
I also wish for performers to create sounds with their actions, their breathing and movements, for dance to step out of its artificial silence, so that sound may behave like a close-up does in cinema, and share in revealing intimacy.


When customs survive, the cause is not so much in their historical viscosity as in the permanence of a function which an analysis of the present should be able to detect.
Claude Levi-Strauss

A place of initiatory experiences, pilgrimage and partying… A common denominator: Nature is used to imitate a return to the time of myths […]. If wild and mysterious nature did not exist, we would have to invent it, which is exactly what we do every day.
Sergio Dalla Bernardina, The Utopia of Nature

Hence, it is in the fascinating, strange and controversial world of hunting that this adaptation of Actaeon unfolds. It is a world marked with ambivalence, a paradox, a form of artificiality. Hunting practices come under the simulacrum and the world they refer to is like an intriguing and quirky oddity in the contemporary landscape. It has to be a mirror for something else or something whose reflection can be loaded with content closer to our times.

Delving into the world of hunting means delving into a resurgence of myths, legends and rites. It means immersing oneself in the forest, the main place for hunting in the Western world. Both close and distant, it is a place of mystery, of loss of references and danger, a feral place. Wild animals: This is what the hunter tracks down, paying attention to every detail in every hide; immersion in the forest which resembles a communion with the animal world. Bertrand Hell, in Sang Noir, actually draws a parallel between the seething black blood of large deer on heat and the hunter’s rush of adrenaline, or Jagdfieber – the fever that comes over him and that has given birth to many a legend.

If the desire for “feral-ness” is indeed an attempt to transcend daily life, the hunter, with all his equipment, becomes an ideal means to question our complex relationship with animals and the wild – our relationship with the strangeness of animals, with the unknown, with instinct and the uncivilised, with predation, letting-go of our place in nature… so many elements that many among us question.

What need does the quest for this symbolic dimension satisfy for these men who, on fixed dates, walk around armed and straight-faced in our leisure areas, carting animal corpses around, living in a parallel universe for a few days… before returning to their daily lives.

I wish to go beyond the figure of the hunter to address the fragile and unstable man who seeks to embody a hunter. I wish to understand what it is he lacks that makes him feel the need to find shelter in such as unlikelihood. What distress does one need to become a hunter, or not to become one or to hunt for other things?


For a very, very long time, he observes the prey, its excessive precautions, its lack of caution. He feels that he is being forced to perform a role, like he too has been cornered into a trap. He cannot escape anywhere. […] When his rage subsides, he has shot three males and six females. The fawns who are faster, have fled. The haunch of a dying doe quivers. […] He should finish the doe off, sit down, breathe, try to understand what happened, decide what to do with so much meat and ease his trembling hands. If only he could be struck by lightning right here right now. If only he had not got up this morning. If only his weapon had jammed, his rifle had exploded and shards had pierced his eyes, a deer had trampled him, he had slipped, his heart had stopped beating, his hands had become paralysed. If only these questions could stop, he could wake up, all this could be but a nightmare, he could learn to beat that rage within him, he knew how to resist, he could give up hunting, he would not react like an angry dog sniffing blood, none of all this were real, none of it, oh no, not real, he thinks as the tears swell up. He cannot remember ever crying in the last ten years, so he cries, stupefied, stupid, stunned. He finally cries about what he did not cry about in the past: the death of his wife, the loss of his children, his life. He cries a thousand times about what he should have cried about for such a long time. He cries, the idiot, but his tears do not inflate the empty lungs of the animals, his grief does not bring movement to what his dumb bullets have made stiff. He cries and he knows he will go home alone. He will take the shower he delayed taking, absentmindedly stroke the cat, and he will never admit to anyone what happened in the forest. He walks, behind him a doe is slowly dying, the fawns will die of hunger without their guide, the animals will rot, they will be ripped apart by scavengers, their hide torn off, nothing but their enigmatic bones will remain as a testimony that something terrible happened at the foot of the cliff. He won’t even eat their flesh. He only wishes for a burning-hot shower, as if the water could wash away his deep wounds. He walks in the stench of death.


Concept & choreography
Philippe Saire


Chorégraphie en collaboration avec les danseursChoreography in collaboration with dancers
Gyula Cserepes, Pierre Piton, Denis Robert, David Zagari


Production assistant
Chady Abu-Nijmeh


Lighting design
Philippe Saire, Vincent Scalbert


Sound design
Stéphane Vecchione


Costumes & accessories
Julie Chapallaz, Nadia Cuénoud


Make up
Nathalie Monod


Technical director
Vincent Scalbert


Sound management
Basile Weber


Graphic design & photography
matière grise | Philippe Weissbrodt


Video
Pierre-Yves Borgeaud


Translation
AJS Cracker


Sponsorship & partners
City of Lausanne, Canton de Vaud, Pro Helvetia – Swiss Arts Council, Loterie Romande, Fondation de Famille Sandoz, Ernst Goehner Stiftung Cie Philippe Saire is the resident company at Théâtre Sévelin 36, Lausanne.


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Dates to come

Wiesbaden (DE)
14.03.2019
15.03.2019

Past dates

Lausanne (CH)
06.02.2019
07.02.2018
Lausanne (CH)
14.11.2018
25.11.2018