KID(S)CUB
Piece for Young Audiences
Propos
KID(S)CUB is a piece created for young audiences. It brings together both the creative practice of composition and a performance that fully reveals what has been explored along the way. KID(S)CUB uses simple tools for writing dance, highlighting the knowledge and understanding of the body in space.
A bodily game to watch, a game to play
A true bodily game, Cub is a choreographic proposition that highlights simple tools for composing movement with one's own body. It allows one to approach and experience dance through the mechanics, geometry and spatialization of one's own body within a space. Through the spectator's experience and through practice, Cub becomes a concrete choreographic outcome for children, parents and teachers.
Playing with one's body
and discovering its different parts
Playing with space
and locating oneself within an environment
Associating and/or connecting defined points within an imaginary cube to parts of the body, this experience defines, through practice, by way of speed and time, space and shape, a choreographic path, both conceived and reproducible.
Fragmenting the play space into several universes, a kind of zones or territories, where thematic and emotional notions come together. These places feed into and give substance to the mechanics that have been developed.
A game drawn from the history of dance
Locus Trisha Brown
Magic Square Anne Teresa de Keersmaeker
"Close to the New York artists of minimal and conceptual art, Trisha Brown presents Locus, whose notation system consists of a diagram akin to a choreographic map. An open, arithmetic structure, Locus functions as a generative system of dance in which the dancer places themselves at the center of an imaginary cube. Each point of the cube is assigned a letter of the alphabet, surrounding the dancer with twenty-seven points in total. The performance consists of writing a first name, a sentence or a text by pointing to, touching or jumping over each letter-point with a different part of the body."
Trisha Brown, Untitled (Locus), 1975, Ink and graphite on paper (detail). The Museum of Modern Art, New York.
"[...] These principles act on the architecture of the body in movement, following the principle of the "magic square," a volume made up of nine points in space, each corresponding to a different stage of energy change. These nine points trace a spiral trajectory for the body, a sequence for the body as mobile architecture involving the whole body, or only the arms, the hands or the head. [...]"
Interview with Anne Teresa de Keersmaeker, conducted by Bojana Cvejić
Casting
Design : Samuel Mathieu
Created with : Louna Delbouys Roy, Louison Valette, Salomé Rebuffat
Danced by : Louison Valette, Salomé Rebuffat
Lighting and Sound design : Samuel Mathieu
Coproducers
RING - scène périphérique - Toulouse/ KID(S)CUB
Lieu Unique - Nantes - On Boarding Pass /smurf_attack projet global
Théâtre des Franciscains - Béziers/ KID(S)CUB
Parcours
The Performers
Louna Delbouys Roy
Born in Lyon in 1999, Louna began her professional career at the age of 10 when she joined Josette Baïz's Compagnie Grenade. She took part in three creations during which she met various choreographers such as Michel Kelemenis, Lucinda Childs, Jérôme Bel, Wayne McGregor and Abou Lagraa. Over four years, these pieces toured French national stages. In 2015, she joined the Conservatoire National Supérieur de Musique et Danse de Lyon. During her training, she took part in the Transcultural Confluence project in Denmark in 2018 and Mali in 2019, bringing together artists from very diverse cultures through music, song and dance. In June 2019, Adami awarded her a grant for a two-month trip to Israel and Palestine. She spent several weeks with the Batsheva Dance Company, Avshalom Pollak Company, and Vertigo Dance Company. More recently, Louna has also been closely following the work of Irish choreographer Oona Doherty, who engaged her for a performance in London in 2021. In March 2020, she began working on the creation of Animal Sketching with Samuel Mathieu, adding the particular demands of aerial strap work as a new string to her bow.
Louison Valette
She studied at the Boulogne-Billancourt conservatory and at the Rencontres Internationales de Danse Contemporaine in Paris before joining the Conservatoire National Supérieur de Musique et de Danse de Lyon. There, she discovered the repertoire of Yuval Pick, Hervé Robbe, Carolyn Carlson, Anne Martin, Sasha Waltz, Sharon Eyal, Rachid Ouramdam, Thomas Lebrun... During her training, she tried her hand at choreography and co-created the YAGE collective with Eva Aubigny in 2017. Now a graduate of the CNSMD in Lyon, upon leaving the Jeune Ballet she encountered the work of Samuel Mathieu and that of Fabienne Donnio, for a transmission of the duet Le Déclin Performante 2 and the creation Saltarines.
Salomé Rebuffat
Salomé Rebuffat, a 22-year-old from Nantes, began dancing at a very young age at a private school where she learned classical technique. Alongside this, she practiced rhythmic gymnastics for several years, stopping when she entered the CRR in Nantes, where she combined classical and contemporary dance. At the age of 11, she entered an adapted school schedule and specialized in contemporary dance. In 2015, she began training at the Conservatoire National Supérieur in Paris, where she explored a varied repertoire, notably through the Cunningham and Graham techniques, as well as the approach to works by Olivier Dubois, Johan Leighton, Trisha Brown, Benjamin Millepied and Emmanuel Gat, along with creations with Rainer Behr, Liz Santoro and Pierre Godard, and also Philippe Decouflé. In 2020, she worked with Zoë de Sousa on the piece Peaux. She rounded off this training with a several-month placement at CCNR Yuval Pick, where she worked on two of his pieces, notably Vocabulary of Need for the Lyon Biennale. She graduated with a Master's degree in 2021, completing her studies at the CNSMDP. She is part of the creation Saltarines by Samuel Mathieu and Fabienne Donnio, planned for 2022.
