ohm sweet ohm - jean-baptiste veyret-logerias

© Jean-Baptiste Veyret-Logerias
ohm sweet ohm
conception Jean-Baptiste Veyret-Logerias
with the collaboration and the interpretation of Jonas Chéreau, Madeleine Fournier, Lenio Kaklea
production processing
In March 2009 the project will be in residency at point éphémère, Paris.
association la dépose c/o Thomas Guillemin 31 rue Orfila 75020 Paris France . SIRET 494 067 762 00018 . APE 9499Z . [email protected] . http://la.depose.free.fr
ohm sweet ohm is based on the idea of resistance. From a French actual political and economical context which shuts bodies up in more and more
narrow spaces, i want to refuse on stage the death of a dance that some people would like to see as inescapable. It is not about making a political
speech to the audience to which we still stand for proposing a poetical gesture. Thus we aim at sublimating reality by making dances that will try to
reveal these states of assaulted, attacked bodies that some people wish as unavailable to the temporality of performance. But it is exactly about that :
reaffirm the temporality of performance and let happen this fight of bodies against a ghost that prowls and spreads into their space to steal it.
I want to make three soli for Jonas, Lenio and Madeleine, who i met at CNDC in Angers. I perceived in their gesture, in their approach of the materials, a
mind that questions, takes time before engaging the body. In this time that their body takes to take the information lies all the potential of a resistance,
even maybe a refusal. I want to appeal this energy that makes them go against, resist, oppose to what they are proposed to embody. I liked their look
that takes a step backward when they dance, and questions their being on stage and their being in the world through dance.
Three soli which will make a global piece, dramaturgically based on the relationship between the individuals and the group to resistance. But the
dancers will also be able to perform their solo isolated, since these soli will make sense by themselves.
i see dancers and a space that reduces
dancers that defend their kinesphere
lights that slowly turn down
bodies in resistance
constrained spaces, constraining spaces
constrained bodies that resist to the narrowing
Jean-Baptiste Veyret-Logerias, June 2008
Resistance "is the property of a material to oppose the electric current, (…) it is measured in ohm (symbol Ω)"
(translation from http://fr.wikipedia.org/wiki/Résistance_électricité)
"The human body is made of skin, tissues, blood, muscles, and can be defined as a resistance. It reacts to electric current as an electric receiver. The
energy that goes through the human body principally changes into calorific energy.
The value of the resistance varies according to physical conditions and conditions of health of the body :
- 1000 Ω more or less in wet conditions
- 5000 Ω more or less in dry conditions
The resistance of the human body varies according to :
the surface of contact
the pressure of the contact
the thickness of the skin
the presence of humidity
the weight, the height, tiredness...
The more weak the resistance is, the more important
the risks are."
(translation of a text and scheme by Damien Bertrand,
lectures on The electric risks [Les risques électriques],
University Louis Pasteur, Strasbourg, december 2006)
Jonas Chéreau started dancing when he was studying History at the University. In 2005 he became one of the first students of the new programme
for professional dancers at CNDC in Angers, directed by Emmanuelle Huynh. During these two-years of training he went through very important pieces
and took part in their recreation : Set and Reset by Trisha Brown, transmitted by Shelley Senter, L’Après-midi d’un faune by Vaslav Nijinski, transmitted
by Anne Collod and A Vida Enorme, duet transmitted by Emmanuelle Huynh, Nuno Bizarro and Catherine Legrand. Through this new training
programme he met and collaborated with Vera Mantero, Pascal Queneau, Nicolas Floc’h, Sylvain Prunenec, Nathalie Collantès and Ko Murobushi. He
started his own choreographic work with a solo Co-érrant contours, in which he explored different ways of relating to time. Jonas collaborates very often
with the collective Eda, and is now working with Madeleine Fournier on the project Les interprètes ne sont pas à la hauteur. Beside his dancing he also
leads a project of dance workshops towards deaf and hard of hearing children, in collaboration with the CNDC. As an interpreter he has been working
with Daniel Larrieu for the project Saisons, and with the puppeteers of Omproduck for Matière d’êtres. He will take part in Laure Bonicel's next creation,
Bad Seeds.
Lenio Kaklea was Born in 1985 in Athens. She studied dancing in the National school of contemporary dance in Athens. After gaining her bachelor diploma
in dance; she was awarded the Koula Pratsika (founder of the national school of dance) scholarship (2005) and went on to pursue further studies in C.N.D.C in
Angers, France. There, she learned from and collaborated with : Vera Mantero for the creation Le geste risqué explore sûrement les chants de la forêt, Shelley
Senter for the creation Set and Reset – Reset, Emmanuelle Huynh for a recreation of A Vida Enorme, Manuel Coursin, Nicolas Floc'h and Ko Murobushi among
others. In 2007 she completed an internship with João Fiadeiro and the company RE.AL for the creation Where does the light go when it's gone? in Lisbon. She
pursued improvisation workshops with Julyen Hamilton, David Zabrano, Douglas Dunn and Loïc Touzé among others. In the summer of 2007 she was the
assistant to Shelley Senter in Impulstanz in Vienna. In 2008, she will be part of the new creation of Laure Bonicel Bad Seeds. In the summer of 2008 she was
invited to participate in "The Forum" organized by the students of the new berlin contemporary dance school and Boris Charmatz, Franz Anton Cramer, Gisela
Müller. She also took part into in a performance in Monumenta at the Big Palace in Paris for an installation by Richard Serra, choreographed by Héla Fattoumi
and Eric Lamoureux. One of her future projects is the transmission of a Dominique Bagouets’ solo from Sylvain Prunenec in order to be used as an exemplary
in French dance schools. She recently received the danceWEB scholarship for the Impulstanz festival ‘08.
When she was very young Madeleine Fournier started dancing in Paris at the conservatory of the 19th arrondissement section contemporary with
Sabine Ricou. Because she had seen all Philippe Decouflé's pieces, she decided to launch into dance. In 1998 she was accepted at the conservatoire
régional de Paris where she met again Sabine Ricou. She spent seven years there, met Priscilla Danton, Maxime Rigobert, Dominique Brun and
Christian Bourigault, and went through Dominique Bagouet's repertoire. In 2005 she gained her diploma in choreographic studies with distinction 'très
bien' and the congratulations of the Jury. Then she was part of the first promotion of the new two-year training programme for professional dancers at
CNDC in Angers directed by Emmanuelle Huynh. There she met persons, artists and teachers such as Vera Mantero, Shelley Senter, Emmanuelle
Huynh, Isabelle Launay, Pascal Queneau, Nathalie Collantès, Anne Collod, Léa Gauthier and Ko Murobushi. They made her see dance differently. Those
two years made appear in herself a lot of desires, that Madeleine learnt to identify and to put into action. At the CNDC she also met Jonas Chéreau with
who she is now working on a project in progress, Les interprètes ne sont pas à la hauteur. She left the CNDC in 2007 and since then has been an
interpreter in projects by Odile Duboc, Laure Bonicel and Anna Konjetzky.
Beside his studies in linguistics, Jean-Baptiste Veyret-Logerias practiced dance at the University and discovered production management at the
Centre chorégraphique national de Tours / artistic director Daniel Larrieu. Thereafter he worked as production manager for several dance companies
and continued his dancing. In 2005 he became one of the first students of the new ‘Essais’ programme at the Centre national de danse contemporaine
in Angers / artistic director Emmanuelle Huynh, where he was invited to develop his own ideas on movement and staging. There he was an interpreter
and author in several projects, such as the American choreographer Deborah Hay's My Country Music, of which he did a solo adaptation, acclimatation.
He also created a solo piece which was the beginning of his personal research, and then produced chambre son, a choreographic and vocal piece for
an a capella choir. Moreover he was invited there to give some workshops on singing to the students of the two-year training programme for
professional dancers. Since 2000 he has been indeed a member of the vocal ensemble Les Djinns, where he is both a singer and choir leader. In
2003, he was part of the vocal ensemble conducted by Pierre Calmelet which won the silver medal at the national competition of the Florilège Vocal de
Tours International Choral Competition in France. After finishing his formation in Angers in 2006, he created the association la dépose to produce his
own work. In 2007 he initiated a research on breathing using vacuum cleaners, inspiratoire/aspiratoire, that was premiered at maus habitos in May
2008. In August 2007 he took part at Performing arts forum in sweet & tender collaborations, group that gathers artists from all over the world who
want to share their practices, to redefine modes of production, and to create together. He selectively participated as a performer in works such as
Robyn Orlin's Daddy, I've seen this piece… in 2001, Superamas's Digging up in 2002. He was also an interpreter in pieces by Laure Bonicel, Roser
Montlló Guberna and Brigitte Seth, and Daniel Larrieu. He also assisted Daniel Larrieu on a performed conference about dance, La danse, j'aimerais
bien mais…, premiered in February 2008. He took part in a collective process of creation at pvc / Stadttheater of Freiburg in Germany with other
sweet & tender members. In 2009 he will participate in the next creations by Daniel Larrieu, and Laura Kalauz in Switzerland.