The show „My body... “ of the Company Olivier Dubois from Paris is canceled for health reasons. A new date for this show is not available yet, so we ask the audience that has tickets for this event to send a request for refund to e-mail protocol@belgradedancefestival.com by October 10th, 2020. Send your tickets in the attachment. If you bought the tickets in Opera Madlenianum you can get your money at the same ticket office where you bought them.
My body…
creation, interpretation: Olivier Dubois
sound and light: François Caffenne
production: Compagnie Olivier Dubois
co-production: Festival Breaking Walls, Le Caire, Le Centquatre - Paris
duration: 90’
premiere: Marseille Festival, 2018
Twelve years after bringing his first choreography to the stage, Olivier Dubois delivers an intimate solo that explores the recesses of the body’s memory and its ability to tell us the (hi)story of his art. Dubois, who was named one of the twenty-five best dancers in the world in 2011, has performed with the best in the business and presented his work on the world’s biggest stages. For this new show, he is alone on stage. Operating any artifice or safety net, he is the consenting victim of a game reminiscent in turns of a court hearing, a peep show and a vivisection. Following a random process cued by the public according to previously established rules, the choreographer and dancer revisits some of the sixty shows in which he has taken part since the beginning of his career. Inspired by the ancient Egyptian “Book of the Dead” (of Book of Coming Forth by Day), he embarks on a journey across a sea of dance fragments in search of the artist, scrutinising the performer’s body to find out what makes a masterpiece and reading the signs of destiny from his entrails. A star is reborn!
Olivier Dubois has been shaking up the French contemporary dance scene for more than a decade with some of the most radical choreographic work to date. The director of Ballet du Nord from 2014 to 2017, he was named one of the twenty-five best dancers in the world in 2011 by Dance Europe magazine and boasts a unique experience working between creation, interpretation and pedagogy. Dubois has performed for Angelin Preljocaj, Cirque du Soleil, Jan Fabre, Dominique Boivin, Sasha Waltz and many others. In 2006, he was invited by the Avignon Festival to create a piece. His work “Pour tout l’or du monde” (For All the Gold in the World) subsequently received the jury prize from the Professional Critics’ Association. At the 2008 Avignon Festival, he created “Faune(s)”, based on the famous piece by Nijinski, and won the Prix Jardin d’Europe, the European prize for emerging choreography. His exhibition “The Faceless Interpreter” at the National Dance Center in Paris in 2009 was well received. In 2010, he presented “Spectre”, a commission by the Ballets de Monte-Carlo, and created “L’homme de l’Atlantique”, a duet based on the music of Frank Sinatra, for the Lyon Dance Biennale. In 2009, he started the trilogy “Critical Study for a Trompe L’Oeil” with the creation of “Revolution” at the Ménagerie de Verre in Paris, followed by the solo “Red” in 2011 and concluded by the provocative “Tragedy”, created at the Avignon Festival in 2012. As part of Marseille 2013 - European Capital of Culture, Dubois created “Elegy” for the Marseille National Ballet. The same year he was named best choreographer at the Danza&Danza Awards for “Tragedy” and “Elegy”. In 2015, he created a solo for Germaine Acogny and a piece performed by a dancer from his Company and 40 male amateur dancers. The trilogy “Critical Study for a Trompe L’Oeil” was concluded in 2016 with “Auguri”, a piece for 22 dancers that premiered in Hamburg, and later presented at the Lyon Biennale. In 2017, Olivier Dubois produced “Of the Origin” for the Royal Swedish Ballet and “7 x Nothing”, his first piece for young audiences. Since 2018, he performs a solo “Coming Forth by Day”.
A funny performance, sublime and insolent
© La Provence
A performance of crazy generosity, funny and terrible at the same time! (…) As soon as he appears on stage, he sends flying all stereotypes and formatted expectations on what should be the body of an interpreter whether classic or contemporary. Next to him, the Prince Charming of classical ballet looks like a coat rack!
© Le Monde
