The Théâtre national de l’Odéon opens its doors to dance for the first time, entrusting choreographer Myriam Gourfink with Fondre, a triptych exploring the dramaturgy of the body.
Odéon opens to dance for the first time
The Théâtre national de l’Odéon, a renowned French theater, is hosting dance for the first time in its history. It has entrusted its smaller venue, the Petit-Odéon, to choreographer Myriam Gourfink for a new performance titled Fondre.Gourfink’s vision for the Odéon
In an interview, Gourfink expressed her excitement about performing at the Odéon, a venue known for its classical prestige. Under the leadership of Julien Gosselin, the theater is reimagining its role and challenging audiences with new perspectives on the body and dance.Gourfink’s connection to the Odéon
Gourfink’s involvement with the Odéon came through Eugénie Tesson, the director of programming and production. Tesson had previously seen Gourfink’s work at the Centre Pompidou, where Gourfink began her career and developed her artistic practice over fifteen years.The Petit-Odéon’s unique design
The Petit-Odéon was originally designed as a small foyer adjacent to the main theater. It was conceived by the Renaud-Barrault as a space for experimental theater. Gourfink describes it as a long, narrow gallery that allows the audience to closely observe the emotional nuances of performers’ movements.Fondre and Laban kinetography
Fondre consists of three pieces: Frissure, Arche, and Almasty. It is an extension of Gourfink’s work on Laban kinetography, a system developed in the early 20th century that transcribes human movement in detail, including direction and articulation.Influence of noise music and spatial constraints
Gourfink highlights the influence of noise music in her work, citing artists like Lou Reed, Xenakis, and Tony Conrad. She also discusses how spatial constraints, such as performing in a confined area, can enhance the intensity and focus of choreographic expression.
