Adapted from Mary Wigman’s Witch Dance, Solo - creation 2013
Conception and interpretation: Pedro Pauwels
Artistic adviser: Claire Rousier
Lighting design: Evelyne Rubert
Music creation: John Cage, Benat Achiary, Terry Riley
Costume designer: Joël Viala
Choreographies by : Mary Wigman, Pedro Pauwels, Josef Nadj, Carlotta Ikeda, Robyn Orlin, Jérôme Thomas
Production: Association Pepau
Coproduction: La Briqueterie / CDC du Val-de-Marne; ECAM - Le Kremlin Bicêtre; Théâtre des Bergeries - Noisy-le-Sec; Les Sept Collines - scène conventionnée de Tulle; Centres Culturels - Ville de Limoges, scène conventionnée pour la danse; Espace 1789 - Saint- Ouen; Hellerau - European Center for the Arts Dresden; supported by: CCN de Nantes, CCN d’Orléans and Academy Fratellini (creative residencies)
Duration: 50 min
With the support of the Culture Programme of the European Union./ Unlimited Access /
The creation of Sors is based on the mythyical solo Witch Dance by Mary Wigman, a famous pioneer of German expressionist dance. Four choreographers took part in this project: Carlotta Ikeda, Josef Nadj, Robyn Orlin and Jerôme Thomas.
Today’s Witches ?
Who are these “ Masters of Chaos “ nowadays? How can choreographers offset wisdom against excess, rules against transgression ? Has anarchy become the central subject in today’s choreographic creation ? Nowadays, swaying as they are between the positive forces of chaos conjured up in the interest of togetherness and abusing these fascinating powers,how do choreographers deal with these questions. Using Mary Wigman’s “Witch dance” as a basis, the choreographers of the evening, were asked to delve into the roles of rhythm, energy and movement when dedicated to bewitching, spells and passion. They were prompted to build their own choreographic vision of today’s sorcerer or sorceress.
Sorcerers and sorceresses
As time passes by, my interest and involvement in dance interpretation has kept growing.The passing of time has in no way impaired my pleasure of being on stage, giving life to roles.… While working as a choreographer, I found myself nurtured and goaded on by the challenges of interpretation, the need to confront ideas and to exchange with other choreocreators.
Today, what remains a fundamental aspect of my work is the pleasure I take in being in another artist’s “service”, in being directed, driven into corners.
My unusual professional path, once marked by more than two months’ artificial coma following the onslaught of fulminating meningitis that led to my having some of my phalanxes amputated, regaining fine motoric skills till my come back on stage, all of which have caused me to face other levels of survival and reasons for living.
This has made me develop some sort of power which may pertain to the supernatural. Hence, my specific interest in this project which refers to an elsewhere…
I asked Claire Rousier to work with me on this project aware of her skills, of her passion for dance history and of our lasting friendship. Thus, on her advice, I chose the “Witch Dance” solo.