All Over Nymphéas
Emmanuel Eggermont
First performed by the Compagnie L’Anthracite at the Théâtre de Liège on February 11, 2022.
A new adaptation.
Spectacle présenté avec des musiques enregistrées.
Coréalisation avec la Comédie de Colmar – CDN Grand Est Alsace,Maillon, Théâtre de Strasbourg – Scène européenne et POLE SUD CDCN, Strasbourg.
Infos
Colmar
Comédie de Colmar
Mulhouse
La Filature
Strasbourg
Le Maillon, Théâtre de Strasbourg — Scène européenne
Pièce pour 9 danseurs.
Prologue
Trente minutes avant le spectacle. (Durée : 15 min.) : Une courte introduction vous est proposée avant chaque représentation à Colmar et Mulhouse.
Cast
Concept, chorégraphie, scénographie Emmanuel Eggermont Musique originale Julien Lepreux Collaboration artistique Jihyé Jung Costumes Emmanuel Eggermont, Jihyé Jung, Kite Vollard Accessoires Lucie Legrand Lumières Alice Dussart Ballet de l'Opéra national du Rhin
Presentation
The term allover refers to a painting technique where the entire surface is treated uniformly, without a dominant focal point of a clear sense of direction, thereby creating a sense of visual continuity. The painting stops being a window to the world and assumes its own presence, creating a physical and sensorial experience for the viewer. The allover approach became popular in the 1950s among American artists such as Jackson Pollock, Mark Rothko, Joan Mitchell and Lee Krasner when they discovered Monet’s monumental Water Lilies series in the Musée de l’Orangerie in Paris. Those artists recognized in the enormous panels covered in all shades of blue, green and purple a striking foreshadowing of their own approach, and in Claude Monet (1840–1926), a radical experimenter, as preoccupied as they were with questions of surface, light, and immersion.
Emmanuel Eggermont has been developing his own choreographic work imbued with a powerful and colorful plastic dimension for over a decade. In his updated version of All Over Nymphéas, he pursues his chromo-choreographic curiosity by exploring the common thread between Claude Monet’s final work and American Abstract Expressionism. Dance, music, sets, costumes and accessories are inextricably linked on stage, forming a fragmented and vivid garden in perpetual metamorphosis. Ten performers bring the invisible water lilies to life in a hypnotic and emotional game of deconstruction, orchestrated by a mischievous master of ceremonies—a subtle nod to the choreographer Raimund Hoghe, best known for his work as a dramaturg for Pina Bausch, to whom this work is dedicated.