×

Cie Philippe Saire
Av. de Sévelin 36
Case Postale 20
1000 Lausanne
Suisse

+41 21 620 00 12 info@philippesaire.ch

Newsletter

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
Case Postale 20
1000 Lausanne
Suisse

+41 21 620 00 12 info@philippesaire.ch

Newsletter

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.

Ether spectacle On tour ×

Premiere April 25th at Théâtre Sévelin 36, Lausanne (theatresevelin36.ch)

This 43 min duo is the fourth part of a series of choreographic works in convergence with visual arts initiated by Philippe Saire. The production 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.
In Black Out (2011), the movements of three dancers on a white canvas drew shapes in the black material. The audience, standing atop the stage, observed as both physical and graphic compositions were made and undone. NEONS Never Ever, Oh! Noisy Shadows (2014) introduced the use of neon lights, in the glow of which two bodies appeared in chiaroscuro. The elaborate interplay of apparitions and disappearances continued in Vacuum (2015), where glimmers of the dancers’ flesh created a strange and mesmerising poetry, both cold and delicate.
Ether furthers this reflection, taking as its starting point fumes on a stage structured with a vanishing point. The work focuses on this transitional area between presence and absence. With the combined effect of the perspective and the fumes, the moving bodies acquire a new and uncertain materiality.
With the success of Black Out – over 180 performances across the world – and the rise of the recent Vacuum, Philippe Saire cultivates the desire of creating constantly reinvented formats.


Stage design
This new project forms part of the Dispositifs series, in which spatial and lighting structures are at the root of the projects. Although these works pay attention to movement as well as narration and images, it is the latter element that lies at the root of the creative process. In that regard, these works are on the line between visual arts and dance.
The project for this fourth “device” relies on 1) two walls structured into a vanishing point and 2) the use of fumes. What these two aspects have in common is that they visually relate to disappearance and haziness, respectively through distance and the opacification of the air.
Artistic direction
Following the principle of this series, research will focus first on the image. The image of the body positioned in this specific space and the image of its materiality in contrast to the evanescence of smoke. I will focus on the way the body interacts with the smoke, whether it takes shelter in the smoke or tries to escape it, whether it fights it off or gradually assumes its shape.
I also chose in principle to work with two dancers, a woman and a man, with a probably pre-eminent feminine presence. Paintings by Edward Hopper triggered this desire and revealed this option. The relationship between the two performers, initially visual and spatial, will gradually build up, with the concern of not restricting it to the story of a couple.
Technique
The two technical components, namely smoke and the vanishing point, have been of interest to me for a long time. Furthermore, they have the added benefit of complementing each other perfectly on a technical level: since smoke is particularly difficult to control on stage, it will be enclosed between two walls.
The two walls will be set up in such a way as to leave a passage at the back, while the light will have to reinforce the perspective effect.
Some significant research work will be carried out regarding the smoke. There are many varieties and ways of creating smoke, yet it is difficult to control. The idea, at this stage, is to integrate several technical elements into the walls: smoke outlets and extraction systems, vents, lights… It is nevertheless important to me that the design remain as simple as possible, and our research will support that. For this production, I will retain the services of a technician experienced in the handling of smoke on stage: Antoine Friderici.
The stages of this research work will be spread over 2017. Technical tests will take place during the first two or three steps in order to develop a design in which the rest of the rehearsals can take place.
Narrative thematic
As I mentioned earlier, the process for the Dispositifs series relies mainly on work on the visual image. If a narrative element is added, it comes second. Nevertheless, the two components (the smoke and the vanishing point) evoke a sort of uncertainty a priori, i.e. being there and not being there.
In Jour de Fuite, a solo created in 2003, I addressed the idea of flight as what drives us to run away from what we ourselves have built. David Le Breton talks about this liberating escape in his recent book Disparaître de soi while Henri Laborit mentioned it back in 1976 in his famous Éloge de la fuite. If this topic resurfaces in this project, it will obviously be approached from an entirely different, mainly visual angle and worked with as a duo.


We do not know which night we come from, or which night we are heading towards. We do not know if we were born at this date or in the depth of ages. We do not know if we are someone or just anybody. We do not know if we have a name or not. We do not know how the rustling woods of our youth has become the metallic jungle of the city. We do not know if that blazing spotlight is an obsessive memory or the State arresting us. We do not know if the noise of our footsteps is the sound of our bones in our flesh. We do not know if the sound that pulses in our ears comes from a ball or our heart. We do not know if our laughter is a scream. We do not know if the air dilates or consumes us. We do not know if we should move or stand still. We do not know if we should show ourselves or remain hidden. We do not know if we should sing or shut up. We do not know if our gesticulations are an expression of bravery or terror. We do not know if our actions are convulsions.
We do not know if the walls surrounding us are those of a shelter or a prison. We do not know if the floor is a piece of the sky. We do not know if our peers are looking after us or if they are gone. We do not know if they are watching us or if they are blind. We do not know if they love us or cheat on us. We do not know if we need them to be alone. We do not know if we should keep our records or erase them. We do not know if we are tired or if we are about to die. We do not know if we are stopping down at the ground to perceive our origins or dissolve ourselves in it. We do not know how to transform the passing time into a feeling of eternity. We do not know if the breath that takes us into death is borne from emptiness or stirred up by the gods. Not knowing has no effect on those who follow us. They carry on.

Christophe Gallaz, 2003


Concept and choreography
Philippe Saire


Choreography in collaboration with the dancers
Marthe Krummenacher, David Zagari


Smoke and light design
Antoine Friderici


Sound design
Stéphane Vecchione


Costumes
Tania D'Ambrogio


Set construction
Hervé Jabveneau


Direction technique
Vincent Scalbert


Photography
Philippe Weissbrodt


Supports and partners
City of Lausanne, Canton de Vaud, Pro Helvetia – Swiss Arts Council, Fondation de Famille Sandoz.


↳ PHOTOS HD
↳ TECHNICAL RIDER

Dates to come

Lausanne (CH)
25.04.2018
29.04.2018
22.05.2018
25.05.2018