Daniel Linehan fr
         
 
Gaze is a Gap is a Ghost (création 2012)
 
Concept, chorégraphie : Daniel Linehan
Danseurs : Salka Ardal Rosengren, Anneleen Keppens, Maria Silva
Dramaturge, mentor : Aaron Schuster
Costumes : Icaro Ibañez-Arricivita Production : Caravan Production
Résidences : PACT Zollverein/CZNRW (Essen, DE), deSingel Kunstencampus (Anvers, BE), Kunstencentrum STUK (Louvain, BE), Kunstencentrum BUDA (Courtrai, BE), Kaaitheater (Bruxelles, BE), Kunstencentrum Vooruit (Gand, BE).
Coproduction : deSingel Kunstencampus (Anvers, BE), Kaaitheater (Bruxelles, BE), Kunstencentrum BUDA (Courtrai, BE), Sadler's Wells (Londres, UK), Opéra de Lille (FR), Centre de Développement Chorégraphique Toulouse / Midi-Pyrenées (FR)
Avec l'aide à la production : Arcadi (FR)
   
« Dans cette nouvelle pièce, trois danseuses et deux captations vidéo interagissent. Les vidéos sont projetées sur un écran de bandes de tissu que les interprètes peuvent traverser pour se retrouver à l'avant ou à l'arrière de l'image. Par ailleurs, un jeu de lumière permet de rendre visible ou de masquer la partie située au loin de l'écran. Les vidéos sont générées par deux caméras portées par les interprètes pendant une des répétitions qui précèdent le spectacle. Elles constituent donc des séquences de danse à part entière. Une fois projetées pendant la représentation, ces séquences sont intégrées dans la composition par les interprètes. Les deux caméras peuvent passer entre les mains des trois danseuses, d'où une interversion possible des rôles entre le voir et l' « être vu », et la mise en abyme décalée, asynchrone, de la danse. » Daniel Linehan

 
Being Together without any Voice (création 2011)
 
Chorégraphie : Daniel Linehan
Création lumières : Joris De Bolle
Danseurs : Linehan, Anne Pajunen, Noé Soulier, Anna Whaley
Production : P.A.R.T.S, Bruxelles)
   
Dans cette pièce chorégraphique, quatre danseurs naviguent entre dix différentes sortes de configurations sociales muettes. La manière dont ils interagissent (ou évitent toute interaction) est familière et en même temps paradoxale. Leur mouvement est fait de répétitions appuyées et cependant ils l'abandonnent aisément pour quelque chose de nouveau. Ils agissent de manière assurée et volontaire et pourtant les scènes semblent se succéder de façon aléatoire. Les danseurs sont engagés dans un effort inutile ou ce qui pourrait être un jeu volontaire.
Ils apparaissent simultanément comme un groupe soudé et comme un conglomérat d'individus disparate. Chaque danseur traite les autres interprètes comme des objets, et se conçoit lui même comme un étranger. Qui sont ces êtres sur scène? Créatures sociales, créatures familières? Les deux?
 
Zombie Aporia (2011)
 
Choreography: Daniel Linehan
Interpretation: Daniel Linehan, Thibault Lac, Salka Ardal Rosengren
Light and stage: Brian Broeders
Voice trainer: Jonas Cole
50 min


   
Zombie means living and dead. Aporia means logical contradiction. The title "Zombie Aporia" is a hybrid: a pop-culture reference is placed beside a term from philosophical discourse, Zombie plus Aporia, two words which—according to Google—had never before been joined until we decided to put them together.

In Zombie Aporia, our point of departure is to create hybrids, to unite contradictory terms, to merge contrasting rhythms in order to create unusual performative monsters. In each separate piece, we take two or more kinds of performance and set them on a collision course. One musical rhythm collides with an opposing dance rhythm, physical manipulation distorts the quality of the voice, the written word merges with the spoken word. We propose that no aspect of a performance can exist in isolation. What if the body always involves the voice? What if meaning always involves rhythm? What if the performer's vision always involves the audience's vision? This coming-together of opposing forms at times produces a friction and at other times produces an unexpected synchronicity. The central focus of our investigations is the body, but it is not a simple body. We conceive of the body as a multifaceted entity in which drives, language, movement, rhythm, and perceptions are all interacting with one another, vitally, messily. The body always points beyond the body.

Zombie Aporia combines two conflicting tendencies: the naïve certitude of a manifesto together with the cautious skepticism of our age. We stand for what we do, hesitantly. We chant our creeds with conviction, but we doubt their significance. Nonetheless, we commit ourselves to overdoing, to doing too much at once. We renounce purity. We are not aiming to distill something to its essence, but rather to contaminate everything with everything else. Our approach is intentionally inexpert, decidedly amateur. We try to put ourselves in situations in which we do not know what we are doing. Experts, like zombies, can do the same things over and over again, efficiently and tirelessly, but an expert cannot do a new thing and still remain an expert. We have to leave behind expertise in order to do what we don't know how to do. We have to be ready to interpret multiple layers of new information simultaneously. We have to see everything within its messy, multi-layered context. And then we have to create a new context. We are speaking only about performance, of course.
Daniel Linehan

Special thanks to Bojana Cvejic and Noé Soulier for the dramaturgy.

Coproduction : Rencontres chorégraphiques internationales de Seine-Saint-Denis, Centre national de la danse (Pantin), Centre de Développement Chorégraphique Toulouse / Midi-Pyrénées, dans le cadre du projet européen « Départs », Kunstencentrum Vooruit, Gent, Kunstencentrum BUDA, Kortrijk Zombie Aporia was created in residency at Agora, cité internationale de la danse, Montpellier Danse ; Centre de Développement Chorégraphique Toulouse / Midi-Pyrénées ; LxFactory, O Rumo do Fumo, Lissabon and Kunstencentrum Vooruit, Gent With the help of the Flemish authorities and Arcadi – aide à la diffusion.

 
Montage For Three (2009)
Conception et chorégraphie : Daniel Linehan
s Interprètes : Daniel Linehan, Salka Ardal Rosengren
Lumière : Ise Debrouwere
25 min


     

Montage for Three is a choreography-of-images for two dancers and one projector. It takes its source material entirely from found photographs, both famous and obscure. These images are projected alongside the two dancers, who embody the photographs with the absurd and impossible aim of giving presence to something which is absent. The living/moving/present bodies confront the mechanical/static/reproduced bodies in such a way that the two forms begin to merge and exchange roles. The dancers become a trigger for the viewer’s memory, as the still images begin to take on a life of their own.

Coproduction : P.A.R.T.S. Bruxelles, Rencontres Chorégraphiques Internationales de Seine-Saint-Denis

 
Not About Everything (2007)
Created and Performed by : Daniel Linehan
Original Lighting Design by : Joe Levasseur
Dramaturgy by : Juliette Mapp
35 min


     
A single body enters the space and begins to turn. The turning begins gently, but it gradually transforms into insane gyratory motion. Within the singularity of his obsessive circular motion, Daniel Linehan introduces a series of variations, accelerations, and subtle shifts, creating a funny and complex dance. He subjects himself to strenuous physical and mental processes involving multiple simultaneous tasks: to speak, think, react, address the audience, etc., without ceasing his perpetual spinning. Linehan tells us that he is not speaking about desperation, endurance, or government policy; he is not speaking about celebrities, virtuosity, or metaphysical problems. Yet even though his words seem to negate, he calls to our attention these issues that evoke a world far larger than his contained little circle. Endlessly spinning around in the center of a shifting network of ideas, Daniel Linehan creates an inverted black hole, a space of disorienting vertigo perhaps, but also a space of thoughtful reflection where all of these ideas can flow and resound.

Not About Everything premiered at Dance Theater Workshop in November 2007, and has since been presented internationally.

Not About Everything was created in part through the Bessie Schönberg/First Light Commissioning Program and Creative Residency Program of Dance Theater Workshop with support from the Jerome Foundation, the Ford Foundation, the National Endowment for the Arts (a US federal agency), the New York State Council of the Arts, and the Jerome Robbins Foundation. This work was also made possible in part through the Movement Research Artist Residency Project, funded in part by the Leonard and Sophie Davis Fund.

 
Daniel Linehan
     
Daniel Linehan (Choreography and Performance), worked as a dancer and choreographer in Brooklyn (New York) for four years, and has recently re-located to Brussels to attend the Research Cycle at PARTS. He has collaborated with Michael Helland on multiple duet projects, which have been presented by several venues in New York, Philadelphia, and Montréal. Linehan's own choreographic work has been presented at numerous venues in New York, including Chez Bushwick, Dance Theater Workshop, and The Kitchen.s
 

Zombie Aporia
Mouvement Avril 2011
Télérama Sortir Mai 2011
Danser 2011


Not About Everything
Le Progrès 04/07/09
Télérama 2007

Montage For Three
Danser 289 2009
Theatreonline Mai 2009

 
The Karaoke dialogues
(création 2014)

- Les 13,14 et 15 mai 2014 à 20h, Opéra de Lille
- Les 21, 22 et 23 mai 2014 à 20h30 et le 24 mai 2014 à 18h, Kaaitheater, Bruxelles, dans le cadre du KunstenFestivaldesArts
- Le 30 mai 2014 à 20h, DeSingel, Anvers
- Du 2 au 4 juin 2014 au Théâtre de la Commune, Aubervilliers, dans le cadre des Rencontres Chorégraphiques Internationales de Seine-Saint-Denis
- Les 11 et 12 juin 2014 à 20h30 à l' ADC, Salle des Eaux-Vives, Genève

Daniel Linehan est Artiste Associé 2012-2014 au deSingel International Arts Campus, Artiste en Residence 2013-2016 at l'Opéra de Lille et New Wave Associate 2012-2014 à Sadler's Wells.

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