DANCE/PERFORMANCE/MUSIC — Both concert as recital, this piece reveals itself in three acts. It reminds us of opera-ballet at the intersection of Spanish traditional music that has influenced danceforms, singing and epics.
We get acquainted with La Doncella Guerrera who invites us to a medieval context, where a young woman dresses like a man to combat; with San Miguel de Garcia Lorca, a sensuous archangel, elegant yet tormented, who is worshiped during the ritual processions of la Semana Santa; and with La Tarara, an Andalusian gipsy, deceived by her previous lover and then transformed into a mysterious temptress with an androgynous secret.
François Chaignaud and four soloists from baroque music, reunited by Nino Laisné, discover historical and folkloristic grounds where Virginia Woolf's Orlando has been incarnated in many different forms.
The scene is covered with tapestries, full of natural history scenes, opening new gateways for the performers.
A dance arises, it moves and disturbs, sometimes as the sister, sometimes as the rival of music, being the impurest of arts.
Concept, stage direction and musical direction: Nino Laisné
Concept and choreography: François Chaignaud
Performance: François Chaignaud (voice and dance) + Daniel Zapico (theorbo and baroque guitar) + Jean-Baptiste Henry (bandoneon) + François Joubert-Caillet or Thomas Baeté (viola de gamba) + Pere Olivé (percussion)
Production: Chambre 415 & Vlovajob Pru
Coproduction: Projet DIPTIC Bonlieu Scène nationale Annecy and La Bâtie - Festival de Genève, with the support of Saint-Gervais Genève Le Théâtre, Théâtre National de Chaillot à Paris, deSingel Antwerp, Maison de la musique de Nanterre, L’Arsenal in Metz