Boris Charmatz - Biography
After training at the Opéra de Paris ballet school and then at the Conservatoire National Supérieur de Musique et de Danse (prestigious state-run music and dance college) in Lyon, Boris Charmatz was hired by Régine Chopinot for "Ana" (1990) and "Saint-Georges" (1991). Odile Duboc asked him to join her company Contrejour for "7 jours/7 villes" (Seven days, seven towns, 1992), Projet de la Matière (Project in Matter, 1993), Trois Boléros (Three Boleros, 1996). In 1993, he also participated in the creation of K de E by Olivia Grandville and Xavier Marchand.
In 1992, Charmatz founded edna association with Dimitri Chamblas. Together they wrote and interpreted the duo A bras le corps (Take the Whole Body / With the Whole Body, 1993), and then signed Les Disparates (The Disparate, 1994), a two-headed solo for one dancer and a sculpture by Toni Grand. Boris Charmatz then presented Aatt enen tionon (1996), a vertical piece for three dancers, followed by herses (une lente introduction) [harrows (a slow introduction), 1997], a piece for five dancers and a cellist, to music by Helmut Lachenmann. In 1999, he choreographed Con forts fleuve, a creation for seven dancers and two extras, to texts by John Giorno and music by Otomo Yoshihide. In 2002, he conceived a choreographic piece that borrows the form of Russian dolls, héâtre-élévision - a show reduced to film size and contained in a television set as part of an installation, for one spectator at a time.
Since 1997, the association has simultaneously been developing projects whose raison d’être is to provide a context where moult artistic experiments can find an outline. These projects aim to find work modes and means of presentation which would restore critical potential, richness and suppleness to dance performance, and to dance itself.
This enlarged conception of dance motivated the edna team to engage in several other types of action: thematic sessions (on light and visual arts), film production, and atypical forms such as Dance, Cooking and Cinema by Myriam Lebreton, Combination-s and La chaise (The Chair) by Julia Cima, Horace Benedict by Dimitri Chamblas and Aldo Lee, Jachères (Fallow Grounds) by Vincent Dupont... There have also been visual art creations: the installation Programme court avec essorage (Short cycle with spin-dry) by Gilles Touyard, and the exhibitions Complexe and Statuts (Status). Moreover, edna set up forums for thought, criticism, or simply as meeting-places: Ouvrée, artistes en alpages (Crafted: Artists in Alpine Pastures), and Entraînements - a series of artistic actions. Edna also developed hybrid forms with a many-sided approach to dance and the body: Faculties, Education, and L’invention du geste (The Invention of gesture). Edna was involved in the publication of the literary works Entretenir / à propos d'une danse contemporaine (Keeping Up: a Dance that’s Contemporary), co-signed by Boris Charmatz and Isabelle Launay, and De front (Up Front) which features photos by Jean-Luc Moulène.
Boris Charmatz participates in improvisational events on a regular basis (recently with Meg Stuart, Benoît Lachambre, Steve Paxton, Bernard Lubat, Michel Portal) and he hasn’t stopped working as an interpreter, notably with Odile Duboc for Projet de la Matière and Trois Boléros, with Fanny de Chaillé for Underwear and Pierre Alféri for En Micronésie (with Jeanne Balibar and Martin Wuttke).
2003 saw the publication of Entretenir / à propos d'une danse contemporaine (Keeping Up : a Dance that’s Contemporary), a work co-signed by Boris Charmatz and Isabelle Launay, and co-edited by the Centre national de la danse and Les Presses du Réel.
From 2002 to 2004, Charmatz was in creator’s residence in the Centre national de la danse. The residency also involved research, and Charmatz developed the Bocal or Glass Jar project, which was a temporary and nomadic school – or more exactly, a research group motivated by the idea of school. Bocal brought together about fifteen students from different horizons, from July 2003 to July 2004.
In 1992, Charmatz founded edna association with Dimitri Chamblas. Together they wrote and interpreted the duo A bras le corps (Take the Whole Body / With the Whole Body, 1993), and then signed Les Disparates (The Disparate, 1994), a two-headed solo for one dancer and a sculpture by Toni Grand. Boris Charmatz then presented Aatt enen tionon (1996), a vertical piece for three dancers, followed by herses (une lente introduction) [harrows (a slow introduction), 1997], a piece for five dancers and a cellist, to music by Helmut Lachenmann. In 1999, he choreographed Con forts fleuve, a creation for seven dancers and two extras, to texts by John Giorno and music by Otomo Yoshihide. In 2002, he conceived a choreographic piece that borrows the form of Russian dolls, héâtre-élévision - a show reduced to film size and contained in a television set as part of an installation, for one spectator at a time.
Since 1997, the association has simultaneously been developing projects whose raison d’être is to provide a context where moult artistic experiments can find an outline. These projects aim to find work modes and means of presentation which would restore critical potential, richness and suppleness to dance performance, and to dance itself.
This enlarged conception of dance motivated the edna team to engage in several other types of action: thematic sessions (on light and visual arts), film production, and atypical forms such as Dance, Cooking and Cinema by Myriam Lebreton, Combination-s and La chaise (The Chair) by Julia Cima, Horace Benedict by Dimitri Chamblas and Aldo Lee, Jachères (Fallow Grounds) by Vincent Dupont... There have also been visual art creations: the installation Programme court avec essorage (Short cycle with spin-dry) by Gilles Touyard, and the exhibitions Complexe and Statuts (Status). Moreover, edna set up forums for thought, criticism, or simply as meeting-places: Ouvrée, artistes en alpages (Crafted: Artists in Alpine Pastures), and Entraînements - a series of artistic actions. Edna also developed hybrid forms with a many-sided approach to dance and the body: Faculties, Education, and L’invention du geste (The Invention of gesture). Edna was involved in the publication of the literary works Entretenir / à propos d'une danse contemporaine (Keeping Up: a Dance that’s Contemporary), co-signed by Boris Charmatz and Isabelle Launay, and De front (Up Front) which features photos by Jean-Luc Moulène.
Boris Charmatz participates in improvisational events on a regular basis (recently with Meg Stuart, Benoît Lachambre, Steve Paxton, Bernard Lubat, Michel Portal) and he hasn’t stopped working as an interpreter, notably with Odile Duboc for Projet de la Matière and Trois Boléros, with Fanny de Chaillé for Underwear and Pierre Alféri for En Micronésie (with Jeanne Balibar and Martin Wuttke).
2003 saw the publication of Entretenir / à propos d'une danse contemporaine (Keeping Up : a Dance that’s Contemporary), a work co-signed by Boris Charmatz and Isabelle Launay, and co-edited by the Centre national de la danse and Les Presses du Réel.
From 2002 to 2004, Charmatz was in creator’s residence in the Centre national de la danse. The residency also involved research, and Charmatz developed the Bocal or Glass Jar project, which was a temporary and nomadic school – or more exactly, a research group motivated by the idea of school. Bocal brought together about fifteen students from different horizons, from July 2003 to July 2004.
posted by edna @ 21:25
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