Compagnie maguy marin wikipedia

Maguy Marin, nada en Tolosa o 2 de xuño de 1951, é unha bailarina e coreógrafacontemporáneafrancesa.

Traxectoria

Maguy Marin estudou danza clásica no Conservatorio de Tolosa. Despois uniuse ao ballet de Estrasburgo, logo cambiou de sentido e uniuse á escola Mudra cando se creou en 1970 en Bruxelas.

Despois participou nun grupo de investigación teatral, Chandra, que abandonou bastante rápido (a finais de 1974). Foi solista durante catro tempadas no Ballet du XXe siècle baixo a dirección de Maurice Béjart e experimenta as súas primeiras experiencias en coreografía. En 1978, aínda estaba en Bruxelas e traballaba con Daniel Ambash; a súa actividade creativa despegou, especialmente despois do seu premio obtido no Concurso Coreográfico Internacional Bagnolet en 1978.

O seu estilo convértese no homólogo francés do Tanztheater, desenvolvido en Alemaña por Pina Bausch, ao integrar moitos elementos teatrais e non da danza nas súas coreografías. Por este motivo, será unha das coreógrafas máis importantes da danza nova francesa, sobre todo cunha peza que se converteu en lendaria, May B, creada en 1981 no Centre national de danse contemporaine de Angers, así como coa súa versión contemporánea de Cendrillon creada en 1985 para o Ballet da Ópera de Lión e actuou máis de 460 veces desde esa data con dez reparticións diferentes. En 1987 comezou unha longa colaboración co músico e compositor Denis Mariotte. Como directora do Centro Coreográfico Nacional de Créteil e Val-de-Marne desde 1985 e despois no Centro Coreográfico Nacional de Rillieux-la-Pape de 1998 a 2011, mudouse á cidade de Tolosa en 2012, despois en 2015 a Sainte-Foy-lès-Lyon .

A compañía créase, evoluciona e cambia, desenvolvendo nos últimos anos o seu traballo no marco da non danza. Ata a data produciu ao redor de corenta pezas.

Maguy Marin é unha das persoas non americanas que recibiu o premio American Dance Festival. En 2008, recibiu un premio Bes

Born on the 13th April 1959 in Petit-Quevilly, Thierry Malandain followed the usual path of a classical dancer but with a strong taste for the unconventional and an unusual tenacity. Instead of undertaking training in famous institutions, he followed the teachings of Jacques Chaurand, Monique Le Dily, René Bon, Daniel Franck, Gilbert Mayer and Raymond Franchetti. All of them are eminent and engaging teachers with a strong and picturesque personality… Violette Verdy, who chaired the Prix de Lausanne at which Thierry Malandain competed in 1978, hired him to join the Paris Opera Ballet for the season 1977-1978. There, he met Jean Sarelli, who was then “The” ballet master, and followed him when Sarelli took over the direction of the Ballet du Rhin. Thierry Malandain stayed in Mulhouse until 1980 and then joined the Ballet Théâtre Français de Nancy, directed by Hélène Traïline and Jean-Albert Cartier, until 1986. He successfully made his first experiences as a choreographer during the six years he stayed in Lorraine. In 1984, he won the 1st Prize of the Volinine competition with Quatuor op3, to a score by Guillaume Lekeu. In 1985 and 1986, he succeeded Maguy Marin as winner of the 1st Prize of Nyon choreographic competition in Switzerland with Sonatine, to a score by Karlheinz Stockhausen, and Métamorphosis, to the music of Benjamin Britten. At this time, Thierry Malandain was already ambitious and very demanding in his choice of music.

In 1986, Thierry Malandain made a bet. He left the Ballet Théâtre Français de Nancy with eight dancers and set up the Compagnie Temps Présent in Elancourt (78), in the suburbs of Paris. He deliberately chose to get off the beaten track and undertake a mammoth task. The following season, he was awarded by the Fondation de la Vocation and the Fondation Oulmont and won the 1st Prize of La Baule choreographic competition, the 1st Prize of Vaison-la-Romaine choreographic competition and the Prix de

(b Toulouse, 2 Jun. 1951)

French dancer, choreographer, and company director. One of the most significant figures in the French new wave. She studied in Toulouse and Paris, performing with the Strasbourg Opera Ballet before moving to Brussels in 1970 to continue her studies at Béjart's school, Mudra. She joined his Ballet of the 20th Century (1974–7) and choreographed Yu-ku-ri for that company in 1976. In 1978 she won first prize at the Bagnolet choreographic competition and in the same year founded her own company, which in 1984 was renamed Compagnie Maguy Marin, resident first at Angers and from 2006 at Rillieux-la Pape. In addition to making dances for her own company, Marin has choreographed for the Paris Opera Ballet (Jaleo, 1983, for the experimental GRCOP, and 1988's Leçon de ténèbres for the main company); for Dutch National Ballet (Groosland, mus. Bach, 1989) and above all for Lyon Opera Ballet where she was resident choreographer between 1991 and 1994. One of her major successes there was Cinderella (1985), which set the familiar fairy-tale in a doll's house; this was followed by Coppélia (1993) which transferred the ballet to a depressed public housing estate. Marin's slant on the classical aesthetic was also evident in Groosland where a cast of padded ‘fat’ dancers satirized the sylph-like bodies of classical dancers. She also staged the Brecht/Weill The Seven Deadly Sins for Lyon in 1987. A list of her other works includes Contrastes (mus. Bartók, 1980), May B (mus. Schubert, Bryars, 1981, based on the writings of Samuel Beckett), Babel Babel (mus. Mahler, 1982), Calambre (mus. Rayon, 1985), Waterzooi (mus. Denis Mariotte, 1993), RamDam (mus. Mariotte, 1995), Umwelt (2005), and Turba (2007).

http://www.compagnie-maguy-marin.fr Website for the Marin company

Maguy Marin (Tolosa, 2 giugno1951) è una coreografa e ballerinafrancese.

Biografia

Nata a Tolosa da madre madrilena e da padre andaluso, emigrati e rifugiati in Francia per sfuggire al regime di Francisco Franco, comincia gli studi a otto anni al Conservatorio di Tolosa. A 16 anni si trasferisce al Conservatoire de Paris, dove segue le lezioni di Nina Vyroubova. Negli anni tra il 1968 ed il 1972 è membro del balletto dell'Opéra de Strasbourg, danzando in produzioni di balletto come Il Lago dei Cigni e Giselle.

Nel 1972 Maguy Marin approda a Mudrā, scuola e residenza coreografica creata dal celebre Maurice Béjart a Bruxelles, e prenderà parte alla formazione del gruppo "Chandra", interno alla scuola e diretto da Micha van Hoecke. Dal 1974 al 1977 diventa membro della compagnia di Maurice Béjart, Les ballet du XXe siécle, interpretando le coreografie di repertorio e le nuove creazioni, e partecipando già in veste di coreografa per la creazione Yu-Ku-Ri, creata per la compagnia nel 1976.

Non mancheranno nella sua carriera collaborazioni celebri, come quella con Carolyn Carlson in veste di danzatrice. Negli anni successivi accadranno molte cose: la prima di Babel Babel, una stagione nel Théâtre des Champs-Élysées e una commissione dal gruppo di ricerca coreografica dell'Opéra di Parigi (Groupe de Recherche Chorégraphique de l'Opéra de Paris), nonché un premio nazionale per la coreografia direttamente assegnato dal ministro francese della cultura.

Nel 1978 Maguy Marin è ancora a Bruxelles con una collaborazione con Daniel Ambash, con il quale fonda la "Compagnie Maguy Marin" (1984). In questo stesso anno ottiene un premio al Concours chorégraphique international de Bagnolet. Il suo stile è considerato da molti critici di danza un omologo francese del Tanztheater (sviluppato in Germania principalmente dalla coreografa Pina Bausch), che incor