Made up of ecstasy, pleasure, subversion, lasciviousness, terror, extravagance and joy, these dances require a prodigious ability to leap from one mood to another, to engage with the most irreverent stories, and to shake, dislocate and throw the body off balance. Behind every emotion is a range of imagined possibilities allowing us to bring a variety of presences, approaches and interdependent modes of sensation to the stage.
Epoch is a study, an inventory of dances in which 20th century female artists explore the performance of contorted movements. We began by reading the descriptions of the dances written by the artists then transcribed these writings into simple partitions. Thus made fiction, these partitions transform words into movement and enable us to create works that are independent of the sources that inspired them. Once we used the power of words to produce movement, these dances that we had never seen, came to life, telling the story of the desynchroni-zation of two dancers; like dancing the difference between two different epochs, between words and sensations, between theatre and nostalgia.
The title, Epoch, evokes a certain quality more than a specific time. In this performance, different elements are explored and interpreted to reanimate an intimate and vibrant story, that has been forgotten or lost in the symbolic past of our journey as dancers. Here dance is used as a raw and direct means to revisit and revivify an archive whose insistent vitality resonates with our present. Epoch is a search for magic. The magic of an enigma, of mystery, of the power of the moment and the way its constant renewal provides the basis for our movement.
Epoch is made up of the following dances:
The subversion of 1920. The terror of 1929. The extravagance of 1926. The mystery of 1996.
The conquest of 2001. Le vertigo of 1968. The euphoria of 1925. The belief of 1965.
The resurrection of 1973. The vice of 1922. The lasciviousness of 1917. The pleasure of 1927.
The dream of 1929, The ecstasy of 1920,The revolt of 1924 and The excess of 2015.
ALMADA, Portugal. 27.02.2022. Transborda Festival.
BORDEAUX, France. 19.06.2021, Festival Treinte Treinte et La Manufacture.
VILA DO CONDE, Portugal. 26/09/20. Festival Circular de Artes Performativas.
GENEVE, Suiwtzerland, 05.09.2020. Festival La Bâtie - cabaret
BREST, France, 1 March 2019, Scène National de Brest - Le Quartz.
SÃO PAULO, Brazil. 1-4 October 2018 - SESC Paulista.
AURILLAC, France. 27 September 2018 - Biennale de la danse de Lyon.
TEL AVIV, Israel. 29 August 2018 - Diver Festival
PARIS, France. 7 Juin 2018 - Silencio Club.
VANVES, France. 15 March 2018 - 20e Artdanthé.
BUENOS AIRES, Argentina. 4 September 2017 - Archelogias del futuro: Encuentro Internacional de Danza Contemporánea Performance y Conocimiento.
SANTIAGO, Chile. 19 and 20 August 2017 - Nave, Espacio de Residencia y Creación.
ORLÉANS, France. March 30 2016 - Scène nationale d’Orléans.
ARMENTIÈRES, France. January 23 2016 - Vivat la danse!, Le Vivat Festival.
MONTPELLIER, France. October 13 2015 - ICI - CCN Montpellier in the frame of Par Ici Volmir Cordeiro.
TULLE, France. October 6 2015 - Théâtre Sept Collines.
PARIS, France. April 24 and 25 2015 - La Ménagerie de Verre - Paris, festival Etrange Cargo.
BREST, France. February 24, 25, 26, 27 and 28 2015 - Festival DañsFabrik. Le Quartz, Scène Nationale de Brest.
Choreography, performance, costumes
Volmir Cordeiro & Marcela Santander Corvalán
Le Quartz, Scène Nationale de Brest With the support of: Ménagerie de Verre (Paris) Casa do Povo (São Paulo – Brazil) and LE CND - Un centre d’art pour la danse.
Clarisse Chanel, Carolina Mendonça, Phelipe Janning and all the team from Le Quartz
Léa Poiré, Mouvement.Critiques, Dansfabrik
Smaranda Olcèse, À bras le corps, Volmir Cordeiro et Marcela Santander
Rosita Boisseau, Télérama, Époque
Agnès Izrine, Danser Canal Historique, Époque
Dragan Pérovic, La Montagne, Époque à Tulle
Rosita Boisseau, Le Monde, À Brest la danse se penche sur ses tombes
Gerard Mayen, Mouvement, Comment le Brésil