HOCUS POCUS Young audience choreography (from age 7), for two dancers, 2017 Duration: 45 minutes - Festival Théâtr'enfants
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HOCUS POCUS
ABRACADABRA! 3
Young audience choreography (from age 7), SET 3
for two dancers, 2017 A JOURNEY OF INITIATION 6
Duration: 45 minutes THE DARK SIDE 6
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HOCUS POCUS
CREATION
October 2017
AUDIENCE
7+ Years
DURATION
45 minutes
CAST
Concept and choreography
Philippe Saire
Choreography in collaboration with dancers
Philippe Chosson, Mickaël Henrotay-Delaunay
Dancers on tour
Philippe Chosson, Mickaël Henrotay-Delaunay,
Ismael Oiartzabal
Stage device realisation
Léo Piccirelli
Props and accessories
Julie Chapallaz, Hervé Jabveneau
Sound design
Stéphane Vecchione
Technical direction
Vincent Scalbert
Construction
Cédric Berthoud
Music
Peer Gynt, by Edvard Grieg
COPRODUCTION
Le Petit Théâtre de Lausanne
(created October 25th 2017 at Le Petit Théâtre
de Lausanne), Jungspund Festival St. Gallen.
A coproduction in the frame of Fund Young
Audiences by Reso – Dance Network Switzerland.
With the support of Pro Helvetia.
SUPPORT AND SPONSORS
Ville de Lausanne, Canton de Vaud, Pro Helvetia–
Swiss Arts Council, Loterie Romande, Fondation
de Famille Sandoz, Migros Culture Percentage.
Cie Philippe Saire is in permanent residency at
Théâtre Sévelin 36, Lausanne.
T
CONTACT o this day, key player in the Swiss attention to the brevity of life?, Cartographies,
Administration contemporary dance scene Philippe Black Out and Vacuum are some of the pro-
Valérie Niederoest Saire has produced some thirty shows, ductions that have enabled Cie Philippe Saire
valerie.niederoest@philippesaire.ch
Communication & production in addition to in situ performances, short to build an international reputation.
Martin Genton films and workshops. Since its inception in 1986, Saire’s dance
martin.genton@philippesaire.ch company has performed over 1,500 shows in
Accounting
Régina Zwahlen over 200 cities around the world.
Administrative Assistant In 1995 Saire inaugurated his own creative
Charlotte Fahrni workspace, Théâtre Sévelin 36. Located in
Cie Philippe Saire Lausanne, the theatre is dedicated to con-
Av. de Sévelin 36 temporary dance, and hosts performances of
CP 110
CH – 1000 Lausanne 20 international stature, as well as local dance
T +41 21 620 00 12 acts, in a bid to help promote their work.
info@philippesaire.ch Théâtre Sévelin 36 was the laureate of the
www.philippesaire.ch 2013 Special Dance Award given by the Swiss
Federal office for Culture.
Diffusion & tour management
Gábor Varga / BravoBravo His interests include visual arts, theatre
+41 78 925 01 86 and cinema—all fields that feature heavily in
gabor.varga@philippesaire.ch his consistently intense and refined works.
Vacarme, Étude sur la Légèreté, Vie et Mœurs
Graphic Design: matière grise
Photography : du Caméléon Nocturne, La Haine de la Musique,
1, 2 (top), 3 (top), 8: © Philippe Pache Les Affluents, [ob]seen, Could I just draw your
2 (bottom), 3 (bottom), 4-5, 6: © Philippe Weissbrodt
Translation: AJS Craker
ABRACADABRA!
H SET
ocus Pocus, a 45-minute work for two performers intended
for children aged 7+, is mainly based on the power of
images, their magic and the sensations they provoke. The
very unique set design allows for a playful and magical exploration The design is the same as a previous work that met with great suc-
into a game of appearances and disappearances of both bodies cess, Vacuum (2015), which featured two 1.2-metre neon lights that
and accessories. float horizontally above ground, one above the other. The two tubes
The brotherly relationship that develops between the two dancers are directed towards the audience, partially blinding them and creat-
constitutes the show’s guiding thread, both through the hardships ing between them a black hole and an abstract space. Thanks to this
they create for themselves to toughen themselves up and through the device, bodies appear out of the darkness and are swallowed up by it,
fantastic voyage that subsequently awaits them. as if by magic.
Hocus Pocus is one of the few contemporary dance works intended
for a young audience. It seeks to challenge the imagination of its audi-
ence, while weaving a narrative that is open enough for each child to
build his or her own story.
\\ The piece can be performed twice a day, in complete
darkness.
\\ The work for adults Vacuum, which uses the same set
design, can also be performed in parallel.
\\ The structure can be moved easily, meaning double bills
are possible.
\\ Furthermore, the show requires no light rigging.
\\ Complementary workshops are also an option.
January 2018 Cie Philippe Saire | Hocus Pocus 3
A JOURNEY OF INITIATION
A
first part, almost like an introduction, focuses on the by that of the two brothers from Agota Kristof’s Notebook, underpins
fascination for, and the discovery of the device. Light works the whole performance.
like a paintbrush that reveals everything it touches and the Ultimately, all points of reference fade, the two brothers lose and
two dancers come into existence within the delineated outline of find each other again through dreamlike adventures: a contortionist’s
the neon lights. Skin textures and fragments of bodies that appear escape from a spider’s web; a journey in a damaged flying machine
almost animal-like appear and gradually come to life. that then falls through the clouds; underwater travels and encounters
Such an introduction to movement in its most abstract and poetic with fabulous aquatic creatures… Accessories and tricks reinforce the
form is a deliberate choice in a children’s show. spell, while the magic evokes various myths as well as excerpts from
A more narrative dimension then develops quite quickly: the two Grieg’s Peer Gynt.
dancers, like close friends, challenge and push each other. They de- Aside from the beauty of the images generated and their acces-
velop a mutually helpful relationship, playing and laughing, in a logic sibility for children, the work turns out to be a journey of initiation that
of toughening themselves up to face reality. This relationship, inspired opens onto to the world.
THE DARK SIDE
T
he childlike universe abounds with shadows, areas beyond arbitrary, the protagonists prove with simplicity and confidence that
comprehension and the explicable. Although adults tend to black holes can be overcome.
think that there is a natural order of things and that every It could be said that this work is demanding in that it trusts chil-
nook and cranny can be lit up, children are more connected with dren’s imagination: Indeed, the story’s mysteries leave room for, and
their imagination which they project into the black holes they see even foster active reception.
every day.
Hocus Pocus is intended as an echo of this inexplicable side. In
a world that bears the traces of a rather frightening sense of the
6 Cie Philippe Saire | Hocus Pocus January 2018
BIOGRAPHIES ongoing Dispositifs series, including Mickaël Henrotay-Delaunay went to JULIE CHAPALLAZ
Black Out (which reached 180 perfor- train at the CNSMDP (the National Prop master
PHILIPPE SAIRE mances in 2018—a dance piece which Superior Music and Dance A dual national, Julie Chapallaz
Choreographer takes place in a cube, with a limited Conservatory in Paris). shares her activities between
Philippe Saire was born in audience standing atop the stage), In 2002, he joined Cie Philippe Switzerland and France.
Algeria where he spent the first five NEONS Never Ever, Oh! Noisy Shadows, Saire as performer and then, After finishing her studies in
years of his life. Based in Lausanne, a duo that uses live red tickers and here and there, as technician Applied Arts in Paris in 2002, she got
he trained in contemporary dance where dancers manipulate neon and assistant. He also per- involved in the world of performing
before going abroad—including a lights, and Vacuum, an optical formed for Cie Utilité Publique, arts, working on set designs, acces-
spell in Paris—to pursue his training. illusion created by two neon lights. Mercimax, Corp’S’pondanse, sories and masks, either as assistant
In 1986, he created his own dance Damotus, Cie Prototype Statut, or fully-fledged creator.
company in the Lausanne area, PHILIPPE CHOSSON Halsundbeinbruch, and Jessica She has worked with institutions
which went on to develop its own Dancer Huber—for whom he created the such as the Opéra de Paris and the
creative repertoire and contributed Philippe Chosson was intro- set designs for seven years. In 2006, Théâtre du Châtelet as well as with
to the emergence of contemporary duced to the world of acting in 1986 he established FLUXTENDU to independent troupes in Europe
dance throughout Switzerland and with the Cie La Découpe. In 1987, he design sets and installations, also and Asia.
in 1995, he inaugurated his own crea- was awarded the Prix d’humour from creating multi-disciplinary projects She is particularly fond of
tive workspace, Théâtre Sévelin 36. the Conservatoire d’art dramatique and films, some of which have handmade special effects and clever
In 1998, he was awarded Rhône-Alpes, for theatre improvisa- been screened at various festivals. and meticulous DIY creations.
the Grand Prix by the Fondation tion. After graduating with a BA in Mickaël Henrotay-Delaunay has also She is fascinated with picture
Vaudoise pour la Promotion et les Arts and Philosophy, he decided to played in short films, including Joëlle narratives, objects, animation films
Créations Artistiques. That same study at the École Internationale Bacchetta’s Sale gosse and Ursula as well as publications.
year, he won the Prix d’auteur du de Mimodrame Marcel Marceau, Meier’s L’enfant d’en haut. In 2013, Since 2015, she has been
Conseil général de Seine-Saint-Denis in Paris, and subsequently at the he committed himself to a ten-year delighted to transmit her know-how
(France) at the 6th International École de Mime Corporel Dramatique collaboration as choreographer with and foster creativity by offering
Choreographic Meeting for his piece Etienne Decroux. In 1993, he turned La Paternelle. workshops for children.
Étude sur la Légèreté. And in 2004, to physical theatre with Laura Scozzi. Since 2004, he has been devel-
ProTanz Zurich awarded him the A decisive encounter with choreog- oping educational works in various HERVÉ JABVENEAU
Swiss dance and choreography prize. rapher Bernard Glandier in 1997 led contexts (workshops for profession- Prop master
Since 2003 Saire has him to dancing. Other dance and als, amateurs and in schools). A victim on the same day in
taught movement at the cinema projects followed, with Bruno the spring of 1987 of a flood in my
Manufacture—a theatre school in Dizien, Laura de Nercy, Mathieu STÉPHANE VECCHIONE bathroom and of the loss of the boot
French-speaking Switzerland. Poirot-Delpech (filmmaker), Laure Sound designer of my car, I quickly learned about
Cie Philippe Saire has produced Bonicel, Coline Serreau (filmmaker), Stéphane Vecchione trained the mysteries of copper brazing and
over 30 shows to date, with Pascal Montrouge, Michèle Rust, in the Drama department (SPAD, polyester resins. Once the repairs
more than 1,500 performances in Jean-Marc Heim, Héla Fattoumi and Section Professionnelle d’Art were finished, I naturally began
200 cities around the world. The Eric Lamoureux, Benjamin Silvestre Dramatique), at the Lausanne making accessories and set designs,
dance company also performs (filmmaker), Philippe Saire, Lionel Conservatory from 1995 to 1999. and joined ISTS in Avignon in 1989 in
regularly at exhibitions, art galleries, Baier (filmmaker), Christian Rizzo, He then began working as a ‘stage management’.
gardens, urban spaces and other Camille Mutel, Cédric Dorier (direc- performer and musician for several Later I took part in numerous
outdoor venues. tor), Jasmine Morand and Claire dance companies and for artists productions as general manager and
From 2002 to 2012, the Dessimoz. He also assisted Rachel such as Stefan Kaegi, Denis Maillefer, constructor, in particular with Didier
Cartographies project, which Benitah (choreographer), Hélène Massimo Furlan, Nicole Seiler, Corinne Capeille for Cie Barbaroque, Daniel
combined performances in the city Mathon (director), Philippe Saire Rochet and Nicholas Pettit. He is also Mesguich, Claude Yersin at the CDN in
of Lausanne and video production, (chorographer), Jasmine Morand a founding member of the band Angers, and Gilberte Tsaï at the CDN
bore witness to Saire’s constant (chorographer) and choreographed Velma, for which he was awarded in Montreuil, and more recently, in
desire to get dance out of the interior for Cédric Dorier. the Jeunes Créateurs Musique prize Switzerland with Anne Cécile Moser,
performing space. The 11 in-situ from the Fondation Vaudoise pour la Andréa Novicov, Massimo Furlan,
pieces, filmed by 9 producers from MICKAËL HENROTAY- Promotion et les Créations Artistiques. Denis Maillefer, Oscar Gomez Mata,
French-speaking Switzerland, DELAUNAY Vecchione has created the Cédric Dorier and Philippe Saire.
including Lionel Baier, Fernand Dancer soundtracks for several Philippe
Melgar, Bruno Deville, Pierre-Yves In 1998, after a four-year stint in Saire shows: Je veux bien vous croire,
Borgeaud and Philippe Saire himself, amateur theatre with Natalie Barbé, Black Out, La Dérive des continents—
were released in 2013 as a book- a two-year training course at the a piece in which he also performs—
DVD-collection and are frequently School of Applied Arts in Amiens and NEONS Never Ever, Oh! Noisy Shadows
screened at festivals. several dance and choreography and Vacuum.
This taste for experimentation collaborations at the Ballet Théâtre
has also led to the creation of the in Amiens with Marie-José Delaunay,
January 2018 Cie Philippe Saire | Hocus Pocus 7
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