Brucelles

To the project Brucelles

Brucelles - Belgique, grande et belle

Magazine "Danse à l'étranger"

Brucelles - Belgique,grande et belle (suite)

Magazine "Danse à l'étranger"

Belgique Grande et Belle

Danse a l’étranger, Magazine

Karine Ponties “Souverain Ponties”

…Maybe without wanting it, the revelation of these days where the works of the different Walloons and Brussels dancers gathered in these performances, come all to one single name, Karine Ponties. Not one but two pieces, when the rest only offered one, but above all a very personal tone and a way to link dance with a strange mystery: the other.

Is the small and new that is rising, or just a mere confirmation. We do know Karine Ponties from her precedent solos full of surrounded humour like “Planta Baja” that she made us discover and where she played a disturbing character, decided and comic from her own personal and feminine approach. The interest was to discover two pieces in the line of her “Negatovas” (a masculine four) a beautiful demonstration with “Brucelles” presented at the Charleroi-Danses Festival more or less at the same time where the “Objectif Danse” hold the Via 2001 gathering and at the Raffinerie she presented an elliptic duo.

With kind of sense apart, in the décor or staging approach, a big white tissue, cutting trough the space in a triangular shape at the back of the stage, the tickling of the table service hanging from it, they are needled to it, “Brucelles” develops a strange delirium of self-submission. A team that seems more like being reassembled from a mental institution, rather than being part of the staff of a big hotel, they start setting the improbable table centred all over the place and with no periphery knot to it. The piece is not only an adaptation but a free interpretation of the strange book “L’institute Benjamenta” from Robert Walsert. But where the author introduced the beating perversion of all commanded relation, where the sadomasochist background is at steak, here the mechanic of the rolls are crazy and the dialectic of the master and the pupil would not arise. After the extinction of the five-business man gathering at the arrival of the only woman, only very ceremonial duets are performed, exchange, folding of table napkins, there the rhythm is sinuous. A quiet moment in which the principle of the complicity is revealed, rigorous development of the chaos towards the catastrophic falling of the dishes the bodies…Using with a great sense the beautiful space of the Palais des Beaux Arts of Charleroi this “Brucelles” (small pins of precision used in the hair saloons) forces the relation from the hand to the object, inside or towards the intrigued poetic of mechanics. But we have to suppose that this was linked to the process of a big piece.

There was in a more constraints space at the Raffinerie a formidable duet together with the performance of a pianist two impeccable interpreters, Mauro Paccagnella and Alessandro Bernardeschi, where they hold themselves with this incongruent lasting attitude, where the objects is always out of reach. There’s nothing to do, it’s always moving all over the place. Despite the fact of wanting to stop it, to bloc it falls down to the ground, braking in pieces, in an incredible way, finishing by leaving without having any chance to stop it. And in alternation is the gesture of the other that becomes the mystery of the partner. Is not as there was no distressing approach of romanticism, but there is a balancing music –Dvorak- returning charmingly and is that what gives this charming and astonishing moments in “Brucelles” also. Strangely this duet without staging and costumes, send us again towards that specific style of Karine Ponties, linked somehow to a master of this way of staging performances, Josef Nadj. After Karin’s biography she has never worked with the creator of the “Canard Pekinois”, but she shares with him this strange ethics of the gesture that which could be called after Petr Kral, the Morals of the crème cake… Karine Ponties proceeds with this thematic accumulation (the first picture of “Brucelles” shows so) reminding us the unspoken comic cinema movies. Things provoke the rising of the piece at a point where a movement has already become irrepressible, in a quest and fight towards the reality that is not devoiced of inutile gestures. Moreover inside this logical of the splastik, so kind of Josef Nadj’s works, the simple fact of wanting to get deeper into the real, makes us to fall deeper in the heaviness reaching there for the catastrophic. This “explosive poems” of which Petr Kral talks about, in relation of the unspoken comic cinema, they persevere as well in Josef Nadj’s as in Karin’s work. The effect is obvious more then after the sextet where the space is mark by the objects of a table in “The Taroupes” is the other, and the other only, who goes up helped only by his own presence, the insolent and tender mechanics of the movement.

(translated by Jordi Granados)

Les Taroupes - Belgique, grande et belle (fin)

Magazine "danse à l'étranger"

Belgique Grande et Belle

Danse a l’étranger, Magazine

Karine Ponties “Souverain Ponties”

…Maybe without wanting it, the revelation of these days where the works of the different Walloons and Brussels dancers gathered in these performances, come all to one single name, Karine Ponties. Not one but two pieces, when the rest only offered one, but above all a very personal tones and a way to link dance with a strange mystery: the other.

Is the small and new that is rising, or just a mere confirmation. We don know Karine Ponties from her precedent solos full of surrounded humour like “Planta Baja” that she make us discover and where she played a disturbing character, decided and comic from her own personal and feminine approach. The interest was to discover two pieces in the line of her “Negatovas” (a masculine four) a beautiful demonstration with “Brucelles” presented at the Charleroi-Danses Festival more or less at the same time where the “Objectif Danse” hold the Via 2001 gathering and at the Raffinerie she presented an elliptic duo.

With kind of sense apart, in the décor or staging approach, a big white tissue, cutting trough the space in a triangular shape at the back of the stage, the tickling of the table service hanging from it, they are needled to it, “Brucelles” develops a strange delirium of self-submission. A team that seems more like being reassembled from a mental institution, rather than being part of the staff of a big hotel, they start setting the improbable table centred all over the place and with no periphery knot to it. The piece is not only an adaptation but a free interpretation of the strange book “L’institute Benjamenta” fro Robert Walsert. But where the author introduced the beating perversion of all commanded relation, where the sadomasochist background is at steak, here the mechanic of the rolls are crazy and the dialectic of the master and the pupil would not arise. After the extinction of the five-business man gathering at the arrival of the only woman, only very ceremonial duets are performed, exchange, folding of table napkins, there the rhythm is sinuous. A quiet moment in which the principle of the complicity is revealed, rigorous development of the chaos towards the catastrophic falling of the dishes the bodies…Using with a great sense the beautiful space of the Palais des Beaux Arts of Charleroi this “Brucelles” (small pins of precision used in the hair saloons) forces the relation from the hand to the object, inside or towards the intrigued poetic of mechanics. But we have to suppose that this was linked to the process of a big piece.

There was in a more constraints space at the Raffinerie a formidable duet together with the performance of a pianist two impeccable interpreters, Mauro Paccagnella and Alessandro Bernardeschi, where they hold themselves with this incongruent lasting attitude, where the objects is always out of reach. There’s nothing to do, it’s always moving all over the place. Despite the fact of wanting to stop it, to bloc it falls down to the ground, braking in pieces, in an incredible way, finishing by leaving without having any chance to stop it. And in alternation is the gesture of the other that becomes the mystery of the partner. Is not as there was no distressing approach of romanticism, but there is a balancing music –Dvorak- returning charmingly and is that what gives this charming and astonishing moments in “Brucelles” also. Strangely this duet without staging and costumes, send us again towards that specific style of Karine Ponties, linked somehow to a master of this way of staging performances, Josef Nadj. After Karin’s biography she has never worked with the creator of the “Canard Pekinois”, but she shares with him this strange ethics of the gesture that with could call after Petr Kral, the Morals of the crème cake… Karine Ponties proceeds with this thematic accumulation (the first picture of “Brucelles” shows so) reminding us the unspoken comic cinema movies. Things provoke the rising of the piece at a point where a movement has already become irrepressible, in a quest and fight towards the reality that is not devoiced of inutile gestures. Moreover inside this logical of the splastik, so kind of Josef Nadj’s works, the simple fact of wanting to get deeper into the real, makes us to fall deeper in the heaviness reaching there for the catastrophic. This “explosive poems” of which Petr Kral talks about, in relation of the unspoken comic cinema, they persevere as well in Josef Nadj’s as in Karin’s work. The effect is obvious more then after the sextet where the space is mark by the objects of a table in “The Taroupes” is the other, and the other only, who goes up helped only by his own presence, the insolent and tender mechanics of the movement.

(translated by Jordi Granados)

Brucelles - La tragi-comédie de la vie (Le Soir) novembre 2000

J.M. Wuyants - Le Soir

Point de Vue

Danse

La tragi-comédie de la vie

“Brucelles”

There are five men (Juan Benitez, Alessandro Bernardeschi, Eric Domeneghetty, Jean Fürst and Mauro Paccagnella, all dressed in dark colours, wandering about on the stage, running from one side to the other, sliding to the floor to encounter the single woman on stage dressed in white ( Cecile Loyer). From time to time she participates in their frantic agitation. At other moments she just observes them. After her precedent three choreographies Karine Ponties has come to realise this project mixing even more if possible the theatre and dance in a truly and single conducting line, structured and linear. In a décor full of forks, spoons all over the stage, the five interpreters seem to train in the skills of setting a table. Their actions are at the same time extremely precise and devoiced of intention, a sort of perpetually excitation, giving the impression of doing something while we perceive the emptiness of their actions. A strange universe seemingly close to the kind of life we are dealing with in our crazy world today. Dark and cruel at some stages, this piece proves also the humoristic approach of the chosen theme, around which a cascade of actions are conceived and realised. The dance is very expressive and seems to translate sometimes in a literary way common expressions like the one of “throwing one self into work”. But here every moment is a realistic accomplishment, choreographically prolonged overloading the body, breaking it, sending it in rotation over him self, in a desperate run away. Tragic comedies from which we are astonished, surprised and evidently happy.

(translated by Jordi Granados)

Brucelles - Pieds et poings déliés (La Libre Belgique) novembre 2000

Marie Baudet - La libre Belgique

Danse

“Pieds et poings déliés”

La libre Belgique 4 novembre 2000

Charleroi-Danses at the KVS (Kunst Vlamse Schoubourg). At least inside the walls that this theatre is holding in while the old one is being renovated. It’s a premiere nevertheless, a neighbour of the Raffinerie also not capable of holding any performances yet, but does have people rehearsing in the studios, one of those people are the company Dame de Pic/ cie Karine Ponties, in residency at the moment is also co-producer of the piece “Brucelles” presented at the Bottelarij Festival. Dancer for Frederic Flamand, Michele Noiret, Mossoux/Bonté, Nadine Ganase, Pierre Droulers, Fatou Traore, choreograph also since a few years ago, Karine Ponties, shows in the all her creations a following and a conductor line of approach towards her way of working in dance. A very personal way of treating subjects and artist. A rigorous personality, deeply developed, that reaches to us in a progressive gravity, ending by making people explode with the spicy humour that she gets to explore in her performances. Recently and as an example of this specific combination is the quarto of“Negatovas”, the choreographer reinvented the comedy: a moving false, pinching you through it without laughing. Without renouncing at all to the strength of her art – a very contemporary approach of the precise and resolute and astonishing way of dancing- “Brucelles” breaths from the same air sweet and sour that the other work was also built in but now in a wider space, much more opened. A tissue suspended in an unbalanced way, a back scene at the same time light and heavy. A table with napkins, dishes and table coverts, an atmosphere of calm occupation. It stars in the twilight under grave sounds. We are still outside but everything is going to change, we get invited in. We see how this intimacy of the five men dressed in black is liberated, the girl dressed in white. There is a kind of intimate emotion more than feelings that we can sense. A small chaos, sweet and provocative of trust and challenge. In-between a dance of kitchen staff and servers of a coffee bar. “Brucelles” has the intelligence of getting the quotidian in all the different ways without letting it be obvious, still singular and always renovating, changing it. The object itself serves for the gesture being omnipresent; the movement appropriates it at the very moment, making it live instantly, and pushing it to the limit, turning it around. There is a game and we enjoy it, with Juan Benitez, Alessandro Bernarderschi, Eric Domeneghetty, Jean Fürst, Cécile Loyer and Mauro Paccagnella. The sound track of Didier Casamitjana, moves us, sprinkling, jazzy, Reggie together with the remarkably light design ofFlorence Richard, making all this complexity, lucid and very well dressed.

(translated by Jordi Granados)

Brucelles - A table... pour danser - mai 2003

Frédérique Doyon - Le Devoir / Montreal

“Brucelles”

A table pour Danser

Journal“Le Devoir” may 2003

In a stage set that seems belonging to a team of “ Maîtres d’hôtel”, and restaurant servers, waiters, five men and a woman are in activity. One introduces his elbow in the eye of another meanwhile another lifts a finger without any consequence of being followed. And although everyone is in his place, each gesture has a function in this curious horse-gear. But the almost infallible mechanics is frequently disturbed, like if the incongruitable attitude of their actions is being imposed to this cortege of servants and servers. The body’s going about in all directions seem not to be able to respond to the gestures. Welcome to the delicious and surrealistic universe of “Brucelles” in the dance-theatre choreography of the Belgian Karine Ponties, presented at the gathering of the Vooruit Danse.

A truly human chain of dance where the gestures and the bodies are perfectly encased into one another, the choreographic frame is being taken to a very joyful disorder. Objects and movements are continuously taken of their true context and veritable first aim, and also the second one. The table napkins are constantly folded up an unfolded in a completely unproductive chain of work; a bunch of dishes is being used as a podium to perform and an aute-contre gets on top and starts singing (in a background of reggae music).

The use of table forks, knives and spoons is stealthily perverted, they become musical instruments, a concentration game, in which the participants steal one another their tools like a bunch of dogs fighting for their succulent bones. The table accessories are then used to construct and decorate the stage scenery, sculpted in a huge candle still, or suspended on the tissue hold at the back of the stage. They set of the table correctly once in this crazy gathering, but on the ground and as soon as it is made is being destroyed.

The accomplishment of this staging piece is to give back the dance his full value, consistent, and independent of all other supposed meaning that could be giving to, like the way contemporary dance is normally achieved. Because this business is in any case vane since a strong sense of extravagant delirium is at all times present here. In the middle of this cacochoregraphy solos, duets and trios appear, are produced, a fluidity bringing gestures of ordinary life magnified by the dance. In this mixture of grace and grotesque approach of “Brucelles” is at the time properly human, pathetic and sublime; to bustle about, build, nothing really matters, the immediate aim is to give life a meaning.

(Translated by Jordi Granados)

Pascal Brullemans, about Brucelles

Pascal Brullemans

It is an extraordinary thing

That from the grey this man’s clear voice breaks away

I approached this lost expression that speaks while ignoring us

The little man

People who saw us often said: and so spectres come in fives.

Five older or younger brothers.

Or five myselves, multiplied as many times as there was work in this asylum where

we served the clients as though the House of Usher were playing on the public square.

I know that at the time, our parents were still there but then they disappeared, leaving the machinery to work on its own.

The clients returned and everything was done in pairs, with a crazed rigour.

I then dare to ask

Me

What happened then?

He began to laugh while answering.

The little man

She came to my home.

She simply crept in like a thing.

There was so much to do in this hotel that she wasn’t even introduced. She fit in.

People are leaving, even though things stay.

We therefore had to hurry and it was André, the only one to get out by becoming a hobo,

I believe, who first seduced her.

And then Théo, the eldest, the intellectual, surely the craziest of all, killed himself for her.

But I, I won her over little by little

I liked her strong legs, like those of an ostrich or a grasshopper.

And then she disappeared.

Me

And so?

The little man

So I smashed the dishes and started a fire.

The china scattered about.

Brucelles - De magnifiques dissonances (Le Matin) novembre 2003

Mureil Steinmetz - Le matin

“Brucelles”

Des magnifiques dissonances

Le Matin novembre 2000

The two solos that she interpreted (“Palnta Baja” & “Dame de Pic”) a masculine and feminine duet (“Glabelle”) which will be perform at the Theatre de l’Ancre in December from the 1st to the 16th as part of the Charleroi-Danses Festival, together with the “Petites pieces pour voix et gestes” de Fatou Traore, and a quartet for men “Negatovas”, Karine Ponties has imposed her clear/dark universe, solitary and tender, of place like a refreshing evidence among the different choreographers of the French Community in Belgium.

This evening as part of the performing bill of the Brussels 2000, she will present her new work in a perfect surrounding, the post-industrial stage of the Bottelarij. In “Brucelles” we fin her well known partner Mauro Paccagnella (the dancing brain of Un Oeuf is un Oeuf) Alessandro Bernardeschi (her partner in the duet version of “Glabelle”) both also brilliant and seen in the sombre and lost in the desert of “Negatovas” performance, also Jean Fürst (cie Mossoux/Bonté) multiple performer also with a vocal talent, is here wonderfully exploited as a performer in order to give us a kind of warm face slapping, in-between the high sounds coming out from the interesting sound track made electronically by Didier Casamitjana. Together with the above-mentioned, not to be neglected the participation of Juan Benitez and Eric Domeneghetty, with the only woman on stage the wonderful Cecile Loyer. Impossible to try and describe the conducting line of this latest piece neither possible is to define the rolls they are playing. Karine Ponties has mastered again in this creation a nettled interaction, mixture of strong and fugitive personalities, refusing to deny and close the door of a poetic and humoristic treatment. The dance is precise and inventive; no contemporary cliché in Ponties works, being her also an experimented performer, always attentive. She captivates our sight, finding always some disturbing elements, making us being forced to concentrate and not loose it. “Brucelles” defined in the dictionary as the thin hair pins used to hold it up with precision. A notion perfectly related to the microcosmic, poetical, pictorial choreographic trajectory of this piece, where –as said before- the humoristic approach enables the characters –servers of an imaginary restaurant not controlled by the Maître - to play their contradictory parts.

“There is a estrange intensity in this micro-observation” says the choreographer in an interview, “what I’m looking for in those details, is the very human”. And she did it, she has reached the very subject, like the best achieved collective work (you should see it a few times in order to appreciate all those details) a formidable entomologist of magnificent dissonances.

(translated by Jordi Granados)


© 2013 Dame de Pic / Cie Karine Ponties Design : Speculoos