Robyn Orlin City Theater & Dance Group
         
Website : http://www.robynorlin.com
Nicknamed in South Africa " a permanent irritation ", she is well known for reflecting the difficult and complex realities in her country. Integrating different media (text, video, plastic arts.) she investigates a certain theatrical reality which has enabled her to find her unique choreographic vocabulary.

http://www.robynorlin.com
 
Senegal Piece (Projet Création Avignon 2014)
 
Une pièce de Robyn Orlin pour les danseurs de Jant Bi, l'Ecole des Sables – Germaine Acogny
 

Explorer le corps dans l'espace, ses manifestations quotidiennes, ses implications politiques... Si le corps dans l'espace est un sujet fondamental pour tout chorégraphe, il est plus que jamais nécessaire d'en parler pour Robyn Orlin, en particulier dans le contexte africain. Pour ce spectacle, la chorégraphe sud-africaine s'associe à l'École des Sables fondée par Germaine Acogny en 1998 à Dakar, centre de danse qui s'efforce depuis près de 15 ans de développer de nouvelles pratiques chorégraphiques à partir du territoire africain. Sur un continent où, selon Robyn Orlin, on parle trop peu du corps, pourtant soumis à toutes sortes de pressions, il est crucial de le faire sortir de la sphère privée et de le mettre au devant de la scène. Le corps accueille, souvent avec violence, les standards de beauté et de laideur, de perfection et d'imperfection. Dès qu'il y a de la violence, le corps est dévalorisé, considéré comme « simplement un corps de plus ». L'Afrique subit en outre les discours occidentaux sur le corps, qui le réduisent à l'image de maux physiques comme la maladie ou la faim, ou à des codes de beauté divergents. La danse révèle ces mécanismes et réévalue les corps, les libère, tente de susciter à autre type de regard, de contourner, détourner et dépasser les idées reçues. Pour ce spectacle, Robyn Orlin entend travailler à partir des danseurs eux-mêmes, de la façon dont ils appréhendent leur propre corps, pour chercher à explorer ses possibilités. Une façon de mettre le corps au centre du débat, et d'interroger les pressions qu'il subit aujourd'hui dans le monde qui est le nôtre.
     
 
in a world full of butterflies , it takes balls to be a caterpillar .... some thoughts on falling ... (Projet Création automne 2013)
 
avec Elisabeth Bakambamba Tambwe et Eric Languet
 
… Robyn Orlin est à la recherche d'Icare en plein vol. La chute. Rappeler l'histoire de l'homme qui tombe. La puissance tragique des images du 11 septembre hante les esprits et fascine en même temps.... ces corps du haut des tours jumelles qui chutent, vertigineusement.... un vol à l'envers, un retour aux origines. D'autres métaphores d'Icare sont à identifier.... la démesure du monde, l'Hybris contemporain est-il encore plus grand ? Peut-être qu'une lente et imperceptible chute se poursuivra tout au long de la pièce.... deux solos pour deux interprètes, peut-être deux anges déchus qui n'atterriront jamais....
     
 
Beauty remained for just a moment then returned gently to her starting position... (Création 2012)
 
Beauty a été créée à la demande de Matthias et Gervanne Leridon et bénéficie du soutien de TILDER.

Avec les danseurs de Moving Into Dance Mophatong, direction Sylvia Glasser : 
Muzi Shili / Fana Tshabalala / Sunnyboy Mandla Motau / Thandi Tshabalala / Teboho Letele / Julia Burnham / Oscar Buthelezi / Andile Otto Nhlapo Assistant de la chorégraphe : Nhlanhla Mahlangu
Musique : Yogin Rajoo Sullaphen
Vidéo : Philippe Lainé
Création costumes : Marianne Fassler
Création lumières : Robyn Orlin avec l'aide de Denis Hutchinson
Directeur de tournées : Denis Hutchinson
Régisseur général : Thabo Pule
Production : City Theater & Dance Group et MIDM, Moving Into Dance Mophatong
Co-production : Tilder, Biennale de la danse de Lyon, MAC, Maison des arts de Créteil, Maison de la musique de Nanterre, City Theater & Dance Group
Administration, diffusion : Damien Valette
Coordination : Marion Gatier
 
Tilder  
 
Babysitting Petit Hercule Babysitting series #4
 
Une création de Robyn Orlin
pour le Musée des Augustins
Mise en scène : Robyn Orlin
Collaboration artistique : Stéphanie Magnant
Vidéo : Philippe Lainé
Avec : les danseurs du CDC de Toulouse/Midi Pyrénées
Et les agents de l'équipe de surveillance du musée des Augustins
Production : City Theater & Dance Group, Centre de Développement Chorégraphique Toulouse Midi/Pyrénées et Musée des Augustins, L'Usine
   
 
Babysitting Tête de Cire Babysitting series #5
 
Une création de Robyn Orlin pour le Musée des Beaux Arts de Lille
Mise en scène, Robyn Orlin
Collaboration artistique, Stéphanie Magnant
Vidéo, Philippe Lainé
Costumes, Olivier Bériot
Assistance technique : Thabo Pule
Avec Robert Coleman, comédien
Bérengère Bodin, Makambamba, Elisabeth Tambwe, Thulani Zwane, danseurs
Rodrigo Ferreira, chanteur lyrique
Et les agents de l'équipe de surveillance du musée des Beaux Arts de Lille
Production City Theater & dance Group, Opéra de Lille et Musée des beaux Arts de Lille
     
 
...have you hugged, kissed and respected your brown Venus today? (Création 2011)
 
Creation Autumn 2011
With: Ann Masina, Dorothée Munyaneza, Bakambamba Elisabeth Tambwe, Angela Simpson, Dudu Yende
Text: Gilbert Gatore
Video: Philippe Lainé, assisted by : Stéphanie Magnant
Stage Design: Alexandre de Dardel
Music: Alessandro Cipriani and Luigi Ceccarelli
Costumes: Olivier Bériot
Technical director : Yann Le Hérissé
   
The story of Sara Baartman is well known to most South Africans... but not to the majority of Europeans and probably the rest of the world... she was just one of many Africans who over two centuries had been exhibited in the West as ethnologically correct specimens of African humanity... What interests me is what happens when science and show business (not to mention politics) converge in anthropological spectacles that are meant to entertain as well as enlighten... and as a consequence, are Africans perceived as intellectual and moral inferiors or superiors or the other... does ethnological show business promote and perpetuate racism, pushing white and black further apart by placing them in closer proximity?... Are Africans put on stage in order to be distanced from the rest of humanity?... What happens when 2 parallels are placed on stage at the same time?... Can a group of young French actors discovering the Sara Baartman story and overcome prejudices?... ... And can the 5 Sara Baartmans on stage work with this meeting of another group?... .... Players, promoters and spectators, individually and in concert, helped shape Europeans and the rest of the world perceptions of Africans in the 19th and 20th centuries ... can we find a way of undoing this now in the 21st century?... And why is this so important for the world?...
Note by Robyn Orlin

Production : City Theatre & Dance Group
Co-production : Les Théâtres de la Ville de Luxembourg, Monaco Dance Forum, Stadsschouwburg Amsterdam, King's Fountain, Théâtre national de Strasbourg, Le CENTQUATRE - Paris, Théâtre de la Ville - Paris, Festival d'Automne à Paris Creation in residency at Le CENTQUATRE – Paris
With the help of Ecole nationale supérieure d'Art Dramautiqe de Montpellier

video
 
Walking next to our shoes… intoxicated by strawberries and cream, we enter continents without knocking
 
with Xolisile Bongwana
Ann Masina
Vusumuzi Kunene
Thulani Zwane
and PHUPHUMA LOVE MINUS
Amos Bhengu, Busani Majozi, Jabulani Mcunu, Mbongeleni Ngidi, Mbuyiseleni Myeza, Mlungiseleni Majozi, Mqapheleni Ngidi, Saziso Mvelase, Siyabonga Manyoni, S'yabonga Majozi
Costumes Birgit Neppl
Lighting Robyn Orlin/Denis Hutchinson
Videography Philippe Lainé
Stage Manager Gladman Balintulo
Video Operator Thabo Pule
Tour Manager Denis Hutchinson
Assistant Director Nhlanhla Mahlangu
Sound Consultant Boris Vukafovic
All props and costumes for this production are fully recycleable.
   
Note from Robyn Orlin
"Walking next to our shoes…" is a traditional Zulu saying meaning "being poor." But poor we are not… We continue to celebrate and express our state of mind… Need I say more? Thanks to everybody for their support for this production.

The production Walking next to our shoes… Intoxicated by strawberries and cream…We enter continents without knocking… was created in Johannesburg in February 2009, before coming to the Paris region for the Banlieues Bleues Festival. Taking to the stage are ten singers from a traditional South African isicathamiya choir, calling themselves Phuphuma Love Minus, as well as an opera singer, Ann Masina, a "swanker," Vusumuzi Kunene, and two dancers, Xolisile Bongwana and Thulani Zwane.

Isicathamiya is a type of a cappella singing specific to South African Zulu culture. Isicathamiya choirs are always all-male. The term derives from the Zulu verb meaning "to walk softly" or "trample carefully." As they blend their voices into harmonious tones, the performers also carry out movements on tiptoe in a quite particular choreographic style. The origins of isicathamiya go back to the early 20th century, when Zulu communities started to migrate into urban areas. For a long time, Zulu travellers were housed in hostels where they were not allowed to make any noise, hence the need to walk around on tiptoe. Gospel singing from the churches gradually came to influence isicathamiya. Today, these choirs compete against each other in contests organised on Saturday nights in Johannesburg and Durban.

Costumes also play an essential part. The men wear bright and expensive shoes as well as fancy suits that they absolutely cannot afford to ruin during the performances, thus the necessity for great care and attention. The song lyrics speak of subjects from daily life, such as nostalgia for homeland, women, dangers of apartheid, or the gospel. It was during the Johannesburg auditions for her production on "swankers" entitled Dressed to kill… killed to dress… that Robyn Orlin discovered the group Phuphuma Love Minus. She was immediately charmed by their style and felt an urge to create a tailor-made piece for them, focussing on the humorous and metaphorical theme of shoes, while taking into consideration the historical, cultural and social context of isicathamiya.

"Walking next to our shoes" is a popular Zulu expression meaning "being poor," and gives its meaning to the production's title. The show attempts to draw the audience's attention to subjects that, while appearing light-hearted, are in fact deeply-rooted in African history. The videographic stage design accompaniment was directed by Philippe Lainé. Deliberately sparse and mobile, this design is based on a documentary film being made today in the streets of Johannesburg, with the goal of documenting all the different types of jobs relating to shoes, from sandal-makers and shoemakers to travelling shoe-polishers. The production, rich in human exchange, allows one to travel through widely varying landscapes, reinventing each time new synergies between places, thoughts, audience, and performers.
Emile Soulier

This piece by the City Theater & Dance Group is made possible through the generosity of the Goethe Institute, Johannesburg, Festival Banlieues Bleues, Théâtre de Saint Quentin en Yvelines, Scène nationale, Grand Théâtre du Luxembourg and Conseil général de Seine Saint Denis.
Special thanks to Mr. Simon Ngubane and Mr. Adolphus Mbuyisa from the Iphimbo Iscathamiya Association where Phuphuma Love Minus is based.
 
Call it... kissed by the sun... better still the revenge of geography...
 
with : Ibrahim Sissoko
Graphic illustration live : Maxime Rebière
Concept of the video scenography : Philippe Lainé
Hip-hop choreography : Ibrahim Sissoko
Costumes : Olivier Bériot
Lighting design: Erik Houllier
Stage and sound manager : Yann Le Hérissé
Robyn Orlin's assistant : Stéphanie Magnant
Dramaturgy : Olivier Hespel
   
Note of intention - by Robyn Orlin
I met ibrahim at the CND when I was there in residence ...... I found the way he looked at his work, his history and his environment refreshing, more so than most of his hip hop contemporaries ..... So by making a piece with him, I thought it may be an interesting way for me and hopefully other people to understand how and why hip hop can resonate in our culture in a way that's not just about interesting dance forms pertaining to the streets, but also about more vigorous and vital expression and political content in our environment ..... Maxim Rebiere has been working with Philippe Lainé and myself for the last 2 operas that I made ..... Both operas were story-boarded ...... And I really like this process ...... So besides enjoying working with Maxime as an artist..... Philippe and I decided that it would be interesting to work with story-boarding real time ..... Not quite sure at this point where its going to lead us, but very excited by the prospect ...... A bit like playing with a comic book and a dancer/performer in real time ..... What to do with space, objects and music ..... This of course evolves during my work process ..... But the point at which I start this piece is the fascination with the riots that took place two years ago in the suburbs of Paris ..... And further still, how is Europe dealing now with the 'other', who by now are first even second generation and wanting to be part of Europe but rascism is still lurking in very sophisiticated yet simple ways ......
Berlin, in April 2009

Co-production : City Theatre & Dance Group, Johannesburg, Théâtre de la Ville, Paris, Espace Michel Simon, Noisy-le-Grand, Centre de Danse du Galion, Aulnay-sous-Bois, Centre de Développement Chorégraphique – Toulouse / Midi-Pyrénées
 
Although I live inside... my hair will always reach towards the sun...
 
Created in 2004 in Montpellier Dance Festival and Paris Quartier d’été Festival, France.
Commissioned by SACD – Le Vif du Sujet
A solo by Robyn Orlin with Sophiatou KossokoDuration : 50 minutes

How does a white woman living in Africa work together with a black woman living in Europe.
   
Coproduction: SACD, Montpellier Dance Festival 2004. Coréalisation: City Theater and Dance Group, Association IGI. Thanks to DCA - La Chaufferie for loan of rehersal studio and to Maciej Fiszer.
 
We must eat our suckers with the wrappers on...
 
Created in Paris in february 2002
Piece for 15 Market Theater Laboratory’s dancers.
Choregraphy, set, costumes : Robyn Orlin
Duration : 1 hour
   
Last years winner of an Olivier Award, Orlin continuously pushes the boundaries of performance and dance. Her new work is a startling reflection on one of the most serious threats to Africa's future, HIV/Aids. Despite its weighty focus the performance is laced with humour and charm as it dazzles with Orlin's trademark ingenuity of narrative, dance and song.

Coproduction : Théâtre de la Ville – Paris/France, City Theater & Dance Group, Market Theater Laboratory, Johannesburg – South Africa
With the support of National Arts Council of South Africa, FNB Vita Dance Umbrella and Rencontres Chorégraphiques Internationales de Seine-Saint-Denis – France.
 
Projet Musée / Babysitting series
 
Created in Berlin in december 2002 under the name of « Baby sitting Caspar … »
   
This Museum Project will continue in several different countries with several different guards of the respective museums over the next several years, with documentation of all the performances. « Babysitting caspar... », focuses on the museum guards who take care of art works. I not only have a need to deconstruct the art work, but also the system to which this art is bound....and tradition is part of this system.
Does dance have to live in a cultural vacuum? Shouldn't this vacuum be burst?
« Babysitting caspar... » respect art. respect the curator. respect the producer. respect the tradition. six guards. one national museum. monitors. staircase. paintings. visitors. preconceptions. high culture. unfailable art. products. identities. histories. communities. fantasies. masters. servants. guards. views.
who looks after art ?
 
The future may be bright, but it’s not necessarily orange…
 
Created in Copenhague in july 2001
Solo by Robyn Orlin with Ann Crosset
Duration : 75 minutes
   
Co-production : City Theater & Dance Group, CCproductions, the Danish Cultureministerial Development Foundation, Danish Center for Culture and Development, Copenhagen International Theatre (KIT). With the support of FNB/Dance Umbrella and the National Arts Council of South Africa.
 
Daddy, I've seen this piece 6 times before and I still don’t know why they’re hurting each others…
 
Created in Johannesburgh, South Africa, in 1998
Piece for 6 dancers
Choregraphy, scenography, set and costumes : Robyn Orlin
Duration : 1 hour


   
Robyn Orlin's Daddy explores politics in the arts in terms of performance empowerment and ownership of space. Six performers fight over the same space while they wait for their director to arrive for a performance. The performers wait in panic five minutes before the show, but the director has not arrived. Their waiting becomes the background against which a collage of dances are set.This piece, ordered by the FNB Vita Dance Umbrella, was awarded the third price at the Rencontres Chorégraphiques Africaines et de l'Océan Indien (Afrique en Créations). Robyn Orlin was awarded the author-price by the Conseil Général de la Seine-Saint-Denis in France, such as by the Rencontres Chorégraphiques Internationales 2000.

Production : City Theater & Dance Group - Johannesburg, with the help of FNB Vita Dance Umbrella – Johannesburg, Keith Kirstens, Basa and French Institute of Johannesburg.
 
Keep the home fires burning
 
In the installation “Keep the home fires burning” selected for the FNB Vita Award Art Prize 1997, one of the most prestigious rewards in contemporary art in South Africa, Robyn Orlin evokes with force the complex and slow changes of community post apartheid. Using simple evocative images it questions us on the racism which perdure and replaces once again the witness in a situation of essential reflection.    
 
Dressed to kill… Killed to dress…
 
Creation February 2008 in Dance Umbrella Festival of Johannesburg
Piece for 5 swenkas from South Africa and 4 dancers/actors


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The Swenkas is a group of blue-collar Zulu men in Johannesburg who spend their salaries on flashy suits and accessories. Every Saturday night they get together in a city basement to compete for the title of the best-dressed Swenka.
Each contestant stands before an audience and a judge and in slow-motion reveals different aspects of his attire in an expressive movement that feels like a dance.The competition is more than a fashion show, it is a contest that began when a group of friends decided to exhibit their pride and parade their taste in front of an audience. The contest has survived many generations.
By day the men are construction workers, miners and security guards but come Saturday nights they want to show how they feel inside. They want to express the fundamentals that go with being a Swenka, which are respect, cleanliness and chaste conduct.
The term "Swenkas" originates from the English word "swank" and the men named the contests "Oswenka". "From there you get a 'Swenka'.
Aside from the idea of showing their integrity and parading their pride, the men compete for prizes ranging from cows and goats to blankets and watches and sometimes for large sums of money. The Swenkas' 'uniforms' are glitzy, glamorous, tailored, tucked, shiny or silky and their accessories are equally important. Patterned socks and matching ties and designer cufflinks all add to the allure of the suit.
Commissioned by Dance Umbrella, Johannesburg
Coproduction : City Theater & Dance Group - Dance Umbrella, Johannesburg - Théâtre de la Ville, Paris - Théâtre de la Place, Liège - Grand Théâtre de la Ville de Luxembourg.
 
Still life with homeless heaven and urban wounds…
Creation for the Via Katlehong Dance
Creation november 2007 in Théâtre de l’Onde
Espace culturel de Vélizy-Villacoublay
Piece for 9 dancers
Duration : 30 minutes
   
“Pantsula... A name that goes back to the 70's when a pantsula was supposed to be the one who dressed elegantly yet not too formally but still made a fashion statement, also a popular dance form called “pantsula jive”... It became a very popular dance form during the 80's among young men in the townships... It includes not only a dance as a way of expressing oneself, but it is a way of life and impacts on where one lives... It has been described as .... A flat footed African tap - and - glide style of dance... The Zulu word pantsula can be translated to mean - to waddle like a duck or alternatively to walk with protruded buttocks - a characteristic of this dance form...
But for me, pantsula is a spontaneous expression of life which reflects the latent violence of the South-African culture... Mainly male orientated, unlike kwaito which is a very popular dance form for both men and women... With the group Via katlehong, we will look at how this dance form became a political expression in the 80's and still today manages to comment on the pervading cultural and political climate in South Africa.”
Robyn Orlin.

Coproduction : Maison des Arts de Créteil, L'Onde, Espace Culturel de Vélizy-Villacoublay, Institut Français d'Afrique du Sud, CulturesFrance, Festival d'Automne à Paris, Le Séchoir à Saint Leu - La Réunion, Damien Valette prod.
Avec le soutien du Centre national de la danse - Pantin pour le prêt de studio.
 
Je suis venu... j'ai vu... j'ai mâché des malabars...
Une pièce de Robyn Orlin pour et avec Seydou Boro
Consultant Costumes: Birgit Neppl
Remerciements à Marion Zieman et au Hebbel Theater, Berlin pour le prêt des studios de répétition ainsi qu'à Olivier Hespel
Durée : 20 min
   
La chorégraphe sud-africaine Robyn Orlin a demandé au danseur burkinabé Seydou Boro d'être son complice pour créer un court spectacle "en hommage" à César.
Néanmoins, il ne faut pas s'attendre à une célébration respectueuse et polie du sculpteur. En effet, Robyn Orlin partage avec César la volonté d'ancrer l'art dans le réel, ainsi qu'un goût pour la dérision et le burlesque dont elle fait largement usage dans ses spectacles. Inclassables, irrévérencieux et clairement politiques, ceux-ci mêlent généralement la danse, le texte et la vidéo, et requièrent souvent la participation du spectateur.
Cette confrontation à l'oeuvre de César promet donc d'être pour le moins surprenante.

Le 10 et 11 septembre 2008 - Les soirées nomades - Fondation Cartier pour l'art contemporain - dans le cadre de l'exposition "César".

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L’Allegro, il penseroso ed il moderato.
Three-part Ode pastorale HWV 55 (1740) – Book of Charles Jennens after John Milton
Created in april 23, 2007 in Opéra national de Paris
Music : Georg Friedrich Haendel
Choregraphy and video : Robyn Orlin
Video direction: Philippe Lainé
Costumes : Olivier Bériot
Lights Marion Hewlett
Les Etoiles, les Premiers danseurs et le Corps de ballet
Orchestra and Chorus des Arts Florissants
Conductor William Christie
Duration :1h40
Production Opéra national de Paris
With the help from The american friends of the Paris Opera & Ballet, and The Annenberg foundation.
 
Porgy & Bess
De George Gershwin, DuBose, Dorothy Heyward et Ira Gershwin Opéra en trois actes.
Créé à l’Opéra comique-Paris le 2 juin 2008
Distribution
Direction musicale : Wayne Marshall
Mise en scène : Robyn Orlin
Scénographie : Alexandre de Dardel
Vidéo : Philippe Lainé
Lumières : Marion Hewlett
The Atlanta Opera Chorus New World Symphony
Production : Théâtre national de l’opéra-comique
Coproduction : Grand théâtre de la ville de Luxembourg
Coproducteurs associés : Théâtre de Caen, Festival International de Musica y Danza de Granada


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2009 "Walking next to our shoes..." Festival Banlieues Bleues et Tournée en France
2008 "Porgy and Bess" Commande de l'Opéra comique, Paris
         "Dressed to kill... Killed to dress..." Tournée en Europe
2007 L’ « Allegro, il penseroso ed il moderato », commande de l’Opera National de Paris - Palais Garnier.
          "Still live...." chorégraphie pour Via Katlehong Dance
         "Confit de Canard" Centre national de la Danse
2005 "Hey dude...I have talent...I'm just waiting for God..."  a solo with Vera Mantero commissioned for Festival Danse à Aix,
         Aix-en-Provence- France, Impulstanz Wien - Austria, Théâtre De La Ville, Paris - France
         "When I take off my skin and touch the sky with my nose, only then can I see little voices amuse themselves…" commissioned
          for Théâtre De La Ville, Paris - France, Le Cargo - Scène Nationale de Grenoble - France, Grand Théâtre de la Ville
         de Luxembourg, Luxembourg. Tour February – April 2005 in France, Germany, Luxembourg, Spain
2004 Commissioned to open the World Culture Museum in Goteborg - Sweden Babysitting series in Johannesburgh Gallery– South
         Africa…
         "Although I live inside… my hair will always reach towards the sun…", performed by Sophiatou Kossoko in Montpellier Dance
         Festival and Paris Quartier d’été Festival, France. Commissioned by SACD – Le Vif du Sujet …
         "And we decided to erect a monument to dance in France…" commissioned by the Choreographic Center CND, Pantin, France
          for its opening "We must eat…" tours in Croatia - Dance Week Festival, Israel Festival and in La Réunion (le Séchoir)
2003 "We must eat our suckers with the wrappers on" toured to Europe.
         "Ah if only…" created for the Carte Blanche Dance Company – Bit Teatergarasjen, Bergen- Norway.  
2002 "We must eat our suckers..." Premier in Paris at Theatre De La Ville, followed by performances at the Dance Umbrella in
         Johannesburg and later in the year toured Vienna.
         Commissioned by Theatre De La Ville (Paris), the Hebbel (Berlin), Montpellier Dance Festival to create "Ski-Fi-Jenn"i and the
         "Frock of the New..." This piece was performed in Paris, Berlin and Montpellier.
         "Daddy, i’ve seen..." toured to 5 cities in France, Norway, London (The BarbicanTheatre), Greece (Kalamata Dance Festival)
          and Sweden (Gothenberg).
         "The future may be bright… but it’s not necessarily orange!!"!. Performed at the Montpellier Dance Festival, France.
         Commissioned by the Hauptstadtkulturfonds to make a piece called "baby sitting casper..." which premiered at the Alte
         Nationale Museum in Berlin. This Museum Project will continue in several different countries with several different guards of the
          respective museums over the next several years, with documentation of all the performances.
         "We must eat our suckers…" has a season at Theatre De La Ville, Paris.
2001 Created "we must eat our suckers with the wrappers on …" on the Market Theatre Laboratory Graduates with its first
         showing at the FNB Dance Umbrella
         Commisioned by Ballet de Lorraine in Nancy, France to make a piece entitled rock my tutu Premier of "the future may be bright...
         but it’s not necessarily orange !!!" in Johannesburg at the FNB Dance Umbrella with the premiere of the piece in Denmark in July
         "Daddy, i’ve seen..". toured to Germany (Hamburg), Belgium (Brussels, Tournai, Liege), Japan (Yokohama, Itami), France (Paris,
         Brest, Strasbourg, Dieppe, Tours, Chalon, Lyon, Metz, Reunion, Amsterdam, Durban (SA), Switzerland, Germany (Weimar,
         Wuppertal)
         "f****(untitled)" toured to Germany (Weimar, Remscheid), France (Le Havre, Paris)
2000 Commissioned by Nordic Shuttle to start work with a Danish Dancer, Ann Crosset. The piece is titled "the future may be bright,
         but it’s not necessarily orange…!!!" Created "f****(untitled)" at the FNB Dance Umbrella, with funding from the NAC and the
         Goethe Institute. This piece toured to Berlin where it had it’s European premier at the Hebbel Theatre.
         "Daddy, i’ve seen…" toured to France (Mulhouse, Paris, Montpellier) Holland (Utrecht), Grahamstown Festival (SA),
         MarketTheatre (SA)
1998 Commissioned work for the FNB Dance Umbrella entitled "daddy, I’ve seen this piece six times before and I still don’t know
          why they’re hurting each other…". A piece for six dancers and a stage.
         Created "life after the credits roll…" a piece for 5 performers and the spirit of makana at the Market Theatre with funding
          from theNAC and the Market Theatre.
         Spent two months in Berlin on a scholarship from the Goethe Institute.
         Created at the drop of a hat… for students at the National School of the Arts.
         Created a new piece on Nelisiwe Xaba for the Women’s Festival in Durban titled "downscalig……scalingdown…a piece for
          one dancer and 3 dresses".
         Conceptualised / Directed for Blue Moon Industrial Theatre Company Drum goes Weekly - History of Drum Magazine;
         Created a safety show for miners in the Gauteng and OFS areas.
         Created All shoes children with the Market Theatre Laboratory students. Won Best of the Fringe at the FNB Dance
          Umbrella.
         Created Strangers in the night for the FNB Dance Umbrella with students from the Market Theatre Laboratory.
         Created "When it comes down to mulberry bushes…" for the Matric students of the National School of the Arts, which
          performed at the Dance Umbrella and the Dance Factory.
         "And at midnight we aired our souls…Created for Tumbuka Dance Company (Zimbabwe) performance at the Dance Umbrella.
         Choreographed orpheus…I mean eurydice…I mean the natural history of a chorus girl." Premier at the Market
         Theatre, Johannesburg. This piece toured to Corbeils-Essonnes (France). Choreographed an installation piece with
         Rodney Place called Couch Dances for the Rembrandt Gallery at the Market Theatre.
1997 "One sheet of sleep…" National School of the Arts.
         the ambassador’s silent freight… Dance Umbrella, Johannesburg.
         Choreographer for the multi-media production Ubu and the Truth Commission. By William Kentridge and The Handspring Puppet
         Company.
         "Naked on a goat." Tour of Poland, Switzerland and France.
         "my hiccups continue to growl…" Opening of the Johannesburg Biennale.
         "Dress with itchy balls…" An installation for the Purity and Danger Show, Gertrude Posel Gallery, University
          of the Witwatersrand, Johannesburg.
         "keep the homefires burning" with Nelisiwe Xaba. An installation - Vita Art Prize finalist, Sandton Art Gallery
1995 "and at midnight we aired our soles." Tumbuka Dance Company, Grahamstown Festival and Dance Umbrella, London.
         "explaining loss to a young ballerina…" National School of the Arts.
         "Naked on a Goat." Premiere at the Market Theatre, Johannesburg.
         "That’s the way the cookie crumbles…" Playhouse Dance Company, Durban, KwaZulu-Natal and the Grahamstown Festival.
         "with astonishment I note the dog…". State Theatre Dance Company, Johannesburg.
         "In a corner the sky surrenders". Solo performance. Perth Festival.
         "Lazy Susan". Installation at the Institute of Contemporary Art, Johannesburg, part of a show called Hitchhiker.
         "In a corner the sky surrenders". Solo performance, South African premier, dance Umbrella, Johannesburg.
          Season at Grahamstown Festival.
         "Rumble in the Jungle". Johannesburg Dance Theatre, Johannesburg.
         "Piss Elegant". Solo for Jeannette Ginslov. Arts Alive Festival, Johannesburg.
         "A hat is definitely not an envelope for a head". Solo for Warren Human. PACT Dance Company, Johannesburg.
         "The Polka Dot Lives On!" Soweto Dance Theatre, Johannesburg.
         "Whoops… A Retrospective". Market Theatre, Johannesburg.
1994 "In a corner the sky surrenders". Solo performance. Block gallery, North Western University, Chicago.
         "The explosion of stars is not only reserved for ticket-holders". NAPAC Dance Company, South Africa.
1993 "Upsy-Daisy". Solo performance. Blue Rider Theatre, Chicago and The Art Institute of Chicago.
1992 "How beautiful is the Princess tonight". Links Hall and Randolph Street Gallery, Chicago.
         "The explosion of stars is not only reserved for ticket-holders". Students of Columbia College Dance Centre, Chicago.
         "Please, consider me a dream". In collaboration with British artist Mathew Wilson. International Performance Space,
          Facets Multimedia, Chicago.
1991 "I throw myself against the sky". Solo performance. Gallery 2, The School of the Art Institute of Chicago.
1990 "explaining conflict to a dying ballerina". Solo performance at the School of the Art Institute of Chicago.
         "If you can't change the world, change your curtains". PACT Dance Company, South Africa.
1989 "If the whole population of China jumped up and down at the same time, the earth would move". NAPAC Dance Company,
          South Africa.
         "Mysteries and Misses". Collaboration with director Chris Pretorius, Market Theatre, South Africa.
         "The Three Angry Daughters of Mr Knife and Mrs Fork" (inspired by Chekhov's Three Sisters) Collaboration with director
         Chris Pretorius, Market Theatre, South Africa.
         "Alive ½ Dead". Dance Umbrella, South Africa.
         "MrMrs". Choreographed and performed by Robyn Orlin with actor Andrew Buckland Market Theatre, South Africa.
         "Five girls screaming". Pretoria Technikon Dance Department, for the Grahamstown Festival, South Africa.
         "As fall women, so fall women". PACT Dance Company, South Africa.
1988 "Here for the Duration, Too". PACT Dance Company, South Africa.
         "Dancing into Darkness". Solo performance. Collaboration with Chris Pretorius. Baxter Theatre and Market Theatre, South
         Africa.
         "Sunrise City and Hotel Polana". Collaboration with Chris Pretorius. Market Theatre, South Africa.
         "Have you seen the countryside around Johannesburg lately, plus Sunrise City" (which was banned and had a hearing
          in front of the Censor Board) collaboration with Chris Pretorius for City Theatre Dance Company, Market Theatre Warehouse.
1987 "Local Stops". NAPAC Dance Company, South Africa.
         Dance Theatre Twofold : Presenting the pas de deux as a speciality act plus Dark Continents. Market Theatre, South Africa.
1986 "Look confidently into the future". Pretoria Technikon Dance Dept. South Africa.
1985 "Moulding Means". Pretoria Technikon Dance Dept. South Africa.
         "Here for the Duration". Market Theatre, South Africa.
1984 "That dream, that sleep". Duet performance - Robyn Orlin and Lucky Diale. Market Theatre Reheasal Room, South Africa.
         "(E)motional Chameleons" duet with Robyn Orlin and Andre de Villiers, upper gallery wall, Market Theatre, Johannesburg
         "Here for the duration" by Robyn Orlin, with Lucky Diale, Gail Saul (and supermarket trollies). Rehearsal Room, Market
          Theatre SA 1983 "Bacchae". Collaboration with Junction Avenue Theatre Company, Market Theatre, South Africa.
         "One, so many". Solo performance. Choreographed with Sonje Mayo. Laager Theatre, Market Theatre, South Africa.
 
Born in 1955 in Johannesburg, Robyn Orlin studied at the London School of Contemporary Dance 1975 – 1980. With the help of a Fulbright scholarship, she then completed her Masters in Fine Art at The School of the Art Institute of Chicago from 1990 till 1993. She has been working consistently on her own work in South Africa from then onwards.

Nicknamed in South Africa " a permanent irritation ", she is well known for reflecting the difficult and complex realities in her country. Integrating different media (text, video, plastic arts…) she investigates a certain theatrical reality which has enabled her to find her unique choreographic vocabulary. One often owes her uniqueness to her entertaining titles: If you can’t change the world, change your curtains (1990), The Polka dot lives on ! (1995) for the Soweto Dance Theatre ; Naked on a goat (1996), Orpheus… I mean Euridice… I mean the natural history of a chorus girl (1998) which obtained the FNB Vita Dance Umbrella award for choreography; Daddy, I’ve seen this piece six times before and I still don’t know why they’re hurting each other (1999) ; F…(Untitled) (2000), We must eat our suckers with the wrapper on and The future may be bright, but its not necessarily orange (2001), Ski-Fi-Jenni …… and the frock of the new, a piece loosely based on the myth of Iphigeni, the Montpellier Dance Festival in July, 2002, Although I live inside … (solo piece for Sophiatou Kossoko, 2004, When I take off My Skin …, 2005, Hey dude… I have a talent... I’m just waiting for God (solo piece for Vera Mantero), 2005.
Summer 2005 she will create a solo piece for Vera Mantero in Aix en Provence and Vienna. In 2004, she was part the Centre National de la Danse opening in Pantin and she directed a short movie “Beautés cachées, sales histories”, commissioned by INA and Arte.
From 2005 until 2007, Robyn Orlin is in residency at Centre National de la Danse in Pantin/Paris where she has presented several choregraphies as « We must eat our suckers with the wrappers on.... », « Keep the home fires burning…..», «Daddy, I've seen this piece 6 times before and I still don’t know why they’re hurting each others », « Une heure avec… ».
Furthermore, Robyn Orlin staged « L’Allegro, il penseroso ed il moderato » by Haendel in Opéra national de Paris in april 2007. She will create a piece for Via Katlehong Dance within the framework of Festival d’Automne in Paris and a piece on Swenkas in February 2008 at Johannesburg Dance Umbrella festival. This last piece will be on tour in Europe.
In parallel in his creations, Robyn Orlin developed a work of artistic collaboration, notably with William Kentridge, within the framework of the creation of Ubu and the Truth commission (1997), and with Sophie Loucachevsky and Jonas Gongwa in 1998.
In 1999 she obtains the third price at the African Choreographic Meetings, and in 2000 the Jan Fabre Price for the most subversive work at the International Choreographic Meetings in Seine-Saint-Denis.
Robyn Orlin won the 2002 LAURENCE OLIVIER AWARD FOR OUTSTANDING ACHIEVEMENT IN DANCE for the creative originality of her show DADDY…

Awards
2003 British theatre’s Laurence Olivier Award for ‘Outstanding Achievement in Dance’ in London for her piece daddy, i’ve seen this piece six times before and i still don’t know why they’re hurting each other…
2000 Jan Faber Award for the most subversive choreography for Daddy,…. Rencontres Chorégraphiques Internationales de Seine-Saint-Denis. Paris.
1999 3rd place in the choreographic competition for « Afrique en création »
Creation in Madagascar. Sanga -a platform for choreography from Africa and the Indian Ocean.
1997 FNB Regional Award for That’s the way the cookie crumbles. Finalist for the FNB Vita Fine Art Award.
1996 FNB Vita Award for Best Choreographer.
1996 Foundation of the Creative Arts Grant Recipient. Foundation of the Creative Arts Grant Recipient.
1990 AA Vita Award for Choreography.
1989 Fullbright Scholarship, the School of the Art Institute of Chicago. Standard Bank Young Artist Award.
1989 AA Vita Award for Choreography.
1986 British Council Scholarship, Goldsmith College, University of London.
1985 AA Vita Award for Choreography (First recipient).

Arts education
Master in Fine Arts, School of the Art Institute of Chicago (Fullbright Scholarship).
The Laban School at Goldsmith College, University of London (British Council Scholarship).
Undergraduate Studies, London School of Contemporary Dance.
1965-1972 Royal Academy of Dance (London): Grades; Elementary and Intermediate Diplomas.

Related experience
Robyn has led choreographic workshops nationally and internationally (Japan, Greece, Paris). She has taught dance technique and choreographed at the Pretoria Technikon 1982 - 1989; National School of the Arts 1998-2001; PACT Dance Company 1988-1989; Market Theatre Laboratory 1996-2003, Centre National de la Danse 2006.
In 1982 she inaugurated the dance departments at FUBA (Federated Union of Black Artists) and Funda Art Centre, Soweto and was the Artistic Director of FUBA Dance Company, the first black contemporary dance company in South Africa.
She taught at Eldorado Park Recreation Centre.
In 1983 performed and delivered a paper at the culture and resistance festival in Botswana.
Robyn has created various art installations in South Africa and abroad. She has worked as director and art director for the Blue Moon Industrial Theatre Company.
 

Walking next to our shoes... New-York Times
New-York Times
Danser, juin 2009
Le Monde, juillet 2009
Têtu, octobre 2010

 
ROBYN ORLIN / City Theater & Dance Group // 2013

Beauty remained for just a moment then returned gently to her starting position ...
Avec la compagnie Moving Into Dance

Les 14 et 15 septembre 2013
Centre Culturel Tjibaou, Nouvelle Calédonie
http://www.adck.nc

Le 5 octobre 2013, Internationales Tanzfestival n.o.w. dance saar, Saarbrucken
http://www.nowdancesaar.de

Du 10 au 12 octobre 2013
Pavillon Noir, Ballet Preljocaj, Aix en Provence
http://www.preljocaj.org

Les 15 et 16 octobre 2013
Cologne
http://www.buehnenkoeln.de

Du 18 au 20 octobre 2013
Stratford Circus, Dance Umbrella, Londres
http://www.danceumbrella.co.uk

in a world full of butterflies , it takes balls to be a caterpillar .... some thoughts on falling ...
avec Elisabeth Bakambamba Tambwe et Eric Languet
Les 14 et 15 novembre 2013
Total Danse, Théâtre Le Grand marché, Saint Denis, La Réunion
http://www.theatreunion.re
Le 19 novembre 2013
Festival Instances, Espace des Arts, Chalon-sur-Saône http://www.espace-des-arts.com Du 21 novembre au 1er décembre 2013
Théâtre de la Bastille, Festival d'Automne à Paris
http://www.theatre-bastille.com Le 3 décembre 2013
Théâtre Les treize Arches, Brive
http://www.lestreizearches.com

«who needs « centre stage » when one's role is to be a caterpillar ...
Solo pour Elisabeth Bakambamba Twambe (30mn)
28 septembre 2013
La Ferme du Buisson, http://www.lafermedubuisson.com/BHEKA-SOUTH-AFRICA.html

Autres activités :
Du 30 septembre au 6 octobre
Projet Labex « The conscious body » http://www.labex-arts-h2h.fr
Du 25 au 30 novembre 2013
Masterclasse à l'Atelier de Paris – Carolyn Carlson
http://www.atelierdeparis.org

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