{"id":8037,"date":"2025-02-27T14:16:27","date_gmt":"2025-02-27T13:16:27","guid":{"rendered":"https:\/\/umoove.art\/?p=8037"},"modified":"2025-02-28T09:07:46","modified_gmt":"2025-02-28T08:07:46","slug":"maud-le-pladec-ayelen-parolin-ballet-de-lorraine","status":"publish","type":"post","link":"http:\/\/umoove.art\/index.php\/2025\/02\/27\/maud-le-pladec-ayelen-parolin-ballet-de-lorraine\/","title":{"rendered":"Maud Le Pladec \/ Ayelen Parolin &#8211; Ballet de Lorraine"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"8037\" class=\"elementor elementor-8037\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-82dcb9a elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"82dcb9a\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-65daa4d\" data-id=\"65daa4d\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-6f94fc6 elementor-widget elementor-widget-image\" data-id=\"6f94fc6\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"614\" src=\"http:\/\/umoove.art\/wp-content\/uploads\/2025\/02\/D.A.N.S.E.R-19-768x614.jpg\" class=\"attachment-medium_large size-medium_large wp-image-8039\" alt=\"\" srcset=\"http:\/\/umoove.art\/wp-content\/uploads\/2025\/02\/D.A.N.S.E.R-19-768x614.jpg 768w, http:\/\/umoove.art\/wp-content\/uploads\/2025\/02\/D.A.N.S.E.R-19-300x240.jpg 300w, http:\/\/umoove.art\/wp-content\/uploads\/2025\/02\/D.A.N.S.E.R-19-1024x819.jpg 1024w, http:\/\/umoove.art\/wp-content\/uploads\/2025\/02\/D.A.N.S.E.R-19-1536x1229.jpg 1536w, http:\/\/umoove.art\/wp-content\/uploads\/2025\/02\/D.A.N.S.E.R-19.jpg 2000w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-b4e9b13 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"b4e9b13\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-e272b01\" data-id=\"e272b01\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-47e1f4c elementor-widget elementor-widget-heading\" data-id=\"47e1f4c\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-heading-title{padding:0;margin:0;line-height:1}.elementor-widget-heading .elementor-heading-title[class*=elementor-size-]>a{color:inherit;font-size:inherit;line-height:inherit}.elementor-widget-heading .elementor-heading-title.elementor-size-small{font-size:15px}.elementor-widget-heading .elementor-heading-title.elementor-size-medium{font-size:19px}.elementor-widget-heading .elementor-heading-title.elementor-size-large{font-size:29px}.elementor-widget-heading .elementor-heading-title.elementor-size-xl{font-size:39px}.elementor-widget-heading .elementor-heading-title.elementor-size-xxl{font-size:59px}<\/style><h2 class=\"elementor-heading-title elementor-size-default\">Entre contr\u00f4le et chaos : deux visions du mouvement<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-f43cbb4 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"f43cbb4\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-66f1d5a\" data-id=\"66f1d5a\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-53d1456 elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"53d1456\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<h3>S<i>t<\/i><b><i>atic Shot<\/i> de Maud Le Pladec : une parade glac\u00e9e<\/b><\/h3>\n<p>\u00c7a commence comme un d\u00e9fil\u00e9, parce que c\u2019en est un, non ? Mode, marche, coupes nettes, hauteurs et regards distanci\u00e9s, la chor\u00e9graphie est un battement d\u2019ailes ultra-millim\u00e9tr\u00e9. On entre dans <i>Static Shot <\/i>comme on feuillette un magazine, en tournant les pages d\u2019un ballet bien taill\u00e9. <b>Christelle Kocher<\/b> pour KOCH\u00c9, v\u00eatements coup\u00e9s\/d\u00e9cal\u00e9s, non genr\u00e9s\u2026 so hype, so ma\u00eetris\u00e9. Les corps se glissent dans la m\u00e9canique, huil\u00e9s comme les rouages d\u2019une horloge suisse. La haute pr\u00e9cision est l\u00e0, mais o\u00f9 est l\u2019accident, la faille, la faille essentielle qui pourrait tout bouleverser ?<\/p>\n<p>Maud Le Pladec parle de<i> \u00ab rel\u00e2chement \u00bb<\/i>. Elle l\u2019\u00e9crit, m\u00eame. On le cherche. Sporadiquement, un.e danseur.euse s\u2019\u00e9vade, un pseudo l\u00e2cher-prise qui n\u2019en est pas un, un \u00e9chapp\u00e9 qui r\u00e9int\u00e8gre vite le rang, le cadre. \u00c7a devait <i>\u00ab raconter les corps, comment ils interagissent, comment ils exc\u00e8dent, comment ils se meuvent, comment ils vivent ou survivent, comment ils s\u2019abandonnent, comment ils s\u2019attirent, comment ils se m\u00ealent, comment ils s\u2019entrechoquent, comment ils se transforment, comment ils ne meurent pas\u2026 \u00bb<\/i>&nbsp;mais rien ne d\u00e9passe. Pas une m\u00e8che, pas un frisson. L\u2019image est impeccable, la glace est fine, mais on ne voit pas ce qui coule sous la surface. Les corps sont l\u00e0, mais ce qui les traverse, ce qui les meut, \u00e9chappe. Comme un d\u00e9fil\u00e9, comme une parade, comme ces revues de girls aux jambes savamment orchestr\u00e9es \u2013 d\u00e9coupage g\u00e9om\u00e9trique, pr\u00e9cision au millim\u00e8tre, pas un souffle de trop. La machine s\u2019enraye-t-elle ? Jamais. Pas m\u00eame quand quelques morceaux de tissu tombent. Se d\u00e9lester de quelques v\u00eatements, est-ce cela l\u2019\u00e9mancipation ? S\u2019\u00e9manciper de quoi, au juste ?<\/p>\n<p>Le regard cin\u00e9ma, Le Pladec l\u2019explore, oui, galavanis\u00e9e qu&rsquo;elle f\u00fbt par une collab&rsquo; r\u00e9cente avec une r\u00e9alisatrice. Pas de projection, pas d\u2019\u00e9cran, mais la danse qui se travaille en plan fixe, en plan s\u00e9quence, sans pause, sans respiration. Le regard ne s\u2019arr\u00eate pas, le mouvement non plus. La musique de <b>Chlo\u00e9 Th\u00e9venin et Pete Harden<\/b>, elle, impose sa cadence, 130 BPM, une pulsation continue qui porte, qui emporte \u2013 ou qui comble un vide ? \u00c7a devait \u00eatre hypnotique, mais \u00e7a lasse. La r\u00e9p\u00e9tition ne magn\u00e9tise pas, elle ass\u00e8che. On est dans le temps, dans l\u2019\u00e9tendue, mais o\u00f9 est l\u2019instant suspendu ? O\u00f9 est la faille ?<\/p>\n<p>On sent les r\u00e9f\u00e9rences, elles s\u2019empilent comme les strates d\u2019une arch\u00e9ologie chor\u00e9graphique \u00e9clat\u00e9e. Il y a du <i>All That Jazz<\/i>, du Busby Berkeley, du cabaret \u00e0 la ligne froide, du Forsythe clinique, du Cunningham distanci\u00e9. Le Grand Mix pas vraiment no(u)v(e)a(u). Pourquoi pas ? Mais la collision n\u2019arrive pas. Il faudrait une \u00e9tincelle. Un souffle de vie. Les vingt-deux interpr\u00e8tes du Ballet de Lorraine sont sublimes, alertes, incisifs, mais ils performent un langage qui, ici, n\u2019a rien \u00e0 dire. Le fruit est m\u00fbr, il craque sous la dent, mais il laisse un go\u00fbt de vide.<\/p>\n<p>D\u00e9ception ? Oui. Surtout quand on sait d\u2019o\u00f9 vient Maud Le Pladec, cette artiste qui a secou\u00e9 la sc\u00e8ne avec des pi\u00e8ces o\u00f9 la danse et la musique s\u2019arrachaient l\u2019une \u00e0 l\u2019autre, s\u2019entrechoquaient, se heurtaient pour mieux s\u2019exalter. On se souvient de <i>Professor<\/i>, de P<i>oetry<\/i>, de <i>Moto-Cross<\/i>, ce solo hybride o\u00f9 la machine et l\u2019humain fusionnaient en une cr\u00e9ature insaisissable. On se souvient de l\u2019explosion, de l\u2019urgence. Ici, rien n\u2019explose. <i>Static Shot<\/i> porte bien son nom. Prenez un shot, vous resterez de marbre. Statique.<\/p>\n<h3><b><i>Mal\u00f3n<\/i> d\u2019Ayelen Parolin : L\u2019insoumission en mouvement<\/b><\/h3>\n<p>Il en faut, de l\u2019\u00e9nergie, pour encha\u00eener apr\u00e8s la martialit\u00e9 implacable du&nbsp;<i>Static Shot <\/i>de Maud. Et pourtant, le Ballet de Lorraine s\u2019y jette avec une insouciance \u00e9lectrique, changeant radicalement d\u2019univers. Fini le strike pose modasse et la rigueur m\u00e9canique, place aux couleurs pastels et aux d\u00e9clinaisons estivales o\u00f9 l\u2019apparente l\u00e9g\u00e8ret\u00e9 masque une complexit\u00e9 bien huil\u00e9e.<\/p>\n<p>Ayelen Parolin orchestre ici un grand d\u00e9sordre organis\u00e9. <i>Mal\u00f3n<\/i> \u2013 ce mot argentin qui \u00e9voque l\u2019irruption chaotique d\u2019un groupe \u2013 est plus qu\u2019un titre ; c\u2019est une d\u00e9claration d\u2019intention. La chor\u00e9graphe argentine, fid\u00e8le \u00e0 son go\u00fbt pour l\u2019absurde et le burlesque, propulse sa tribu dans une transe hallucin\u00e9e, une rave party au bord du rituel sacr\u00e9. L\u2019entr\u00e9e en sc\u00e8ne est un choc : des corps extatiques pris de convulsions, une danse de Saint-Guy qui semble d\u2019abord erratique avant de s\u2019av\u00e9rer diaboliquement pr\u00e9cise. Chaque tremblement, chaque saccade se propage en un effet papillon contagieux, fusionnant charleston et samba dans une euphorie collective.<\/p>\n<p>L\u2019humour de Parolin est grin\u00e7ant, critique : il interpelle. Ses danseurs se meuvent avec une physicalit\u00e9 brute, une gestuelle qui semble maladroite, mais qui s\u2019inscrit dans une rigueur math\u00e9matique. La r\u00e9p\u00e9tition, omnipr\u00e9sente, construit une tension permanente : l\u2019ordre et le d\u00e9sordre s\u2019entrelacent, se d\u00e9fient, s\u2019\u00e9pousent. C\u2019est dans cette friction que la pi\u00e8ce trouve sa force, dans cette m\u00e9canique savamment d\u00e9r\u00e9gl\u00e9e qui fait vaciller nos rep\u00e8res.<\/p>\n<p>Le collectif est ici une entit\u00e9 mouvante, insaisissable, chacun semblant poursuivre sa propre impulsion tout en appartenant \u00e0 un tout. Et ce tout, il faut le voir : baign\u00e9 dans des lumi\u00e8res acidul\u00e9es et frapp\u00e9 de costumes fluorescents sign\u00e9s <b>Alexandra Sebbag<\/b>, il est un v\u00e9ritable tableau en mouvement, une fresque hallucin\u00e9e. La musique \u00e9lectro de<b> Benoist Este Bouvot<\/b>, pulsatile et hypnotique, enfonce encore le clou, rendant l\u2019exp\u00e9rience presque visc\u00e9rale.<\/p>\n<p>Ce <i>Mal\u00f3n<\/i> est une onde de choc, une lib\u00e9ration par le mouvement qui rappelle que la danse est avant tout une jouissance, une r\u00e9volte, un sourire d\u00e9mesur\u00e9 grav\u00e9 dans le corps. En offrant au Ballet de Lorraine cette \u0153uvre plastique et sensorielle, Ayelen Parolin insuffle une \u00e9nergie rare, un regard neuf qui emm\u00e8ne ailleurs. Cet ailleurs est l\u2019exacte direction que doit prendre Maud Le Pladec, \u00e0 la t\u00eate de la compagnie depuis janvier 2025. On la sait pr\u00eate \u00e0 tous les d\u00e9fis et c\u2019est tant mieux. On l\u2019esp\u00e8re.<\/p>\n<p><b>C\u00e9dric Chaory<\/b><br><b>\u00a9Laurent Philippe<\/b><\/p>\n<p><b>Vu \u00e0 La Coursive le vendredi 14 f\u00e9vrier 2025<\/b><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Entre contr\u00f4le et chaos : deux visions du mouvement Static Shot de Maud Le Pladec : une parade glac\u00e9e \u00c7a commence comme un d\u00e9fil\u00e9, parce que c\u2019en est un, non ? Mode, marche, coupes nettes, hauteurs et regards distanci\u00e9s, la chor\u00e9graphie est un battement d\u2019ailes ultra-millim\u00e9tr\u00e9. On entre dans Static Shot comme on feuillette un &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"http:\/\/umoove.art\/index.php\/2025\/02\/27\/maud-le-pladec-ayelen-parolin-ballet-de-lorraine\/\"> <span class=\"screen-reader-text\">Maud Le Pladec \/ Ayelen Parolin &#8211; Ballet de Lorraine<\/span> Lire la suite\u00a0\u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","footnotes":""},"categories":[8],"tags":[168,167,45,165],"class_list":["post-8037","post","type-post","status-publish","format-standard","hentry","category-critique-critique","tag-ayelen-parolin","tag-ballet-de-lorraine","tag-la-coursive","tag-maud-le-pladec"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.8 - aioseo.com -->\n\t<meta name=\"description\" content=\"Entre contr\u00f4le et chaos : deux visions du mouvement Static Shot de Maud Le Pladec : une parade glac\u00e9e \u00c7a commence comme un d\u00e9fil\u00e9, parce que c\u2019en est un, non ? Mode, marche, coupes nettes, hauteurs et regards distanci\u00e9s, la chor\u00e9graphie est un battement d\u2019ailes ultra-millim\u00e9tr\u00e9. 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