Conception & Performance: Vania Vaneau
Assistant: Jordi Galí
Sound: Simon Dijoud
Lights: Johann Maheut
Choreography advice: Anna Massoni
Coproduction: CCN Rillieux-la-Pape, direction Yuval Pick
Supported by: Ramdam - Lieu de Ressources Artistiques (Ste Foy les Lyon, France), Le Pacifique CDC (Grenoble, France), L'Animal a l'Esquena (Girona, Spain), with the complicity of Les Subsistances (Lyon, France).
Duration: 35 min. | N-18
Premiere: 2013
I researched on shamanism and rituals, from my native Brazil and around the world. The idea was to make an archeology of the body, unfolding its material and subjective layers and making a parallel between rituals and theater in the time we live where rationality and individual desire for material possessions in a competitive atmosphere dominates.
I question the space of contact with invisible forces, looking at spiritual work as a resistance against the material and perishing condition of the body. A place of vertigo as theater plays out with simulacrum and representation. The actor embodies characters, the dancer works with physical and imaginary forces, like the shaman, they transform themselves during the time and space of a show or a ritual.
Vania Vaneau
VANIA VANEAU
Born in 1982 in San Paulo, Brazil, she begins her dance and theater experience with her parents who were a choreographer and a Theater Director. Her dance studies starts in Brazil, then in the Conservatoire de Région de Lyon and Conservatoire de Région de Paris, and at P.A.R.T.S, Brussels.
As a performer she takes place in projects of Wim Vandekeybus (2004-2005), Maguy Marin (2005-2012), David Zambrano (2013), Marcos Simoes/Sara Manente (2014), Cie. Yoann Bourgeois (2014-2015) and Jordi Galí (2014-2015).
Since 2000 she works with improvisation and dance videos in solo or in duets with Jordi Galí and Anna Massoni. In 2013 she creates the solo “Blanc”, produced by cie. Arrangement Provisoire with the support of CCN -Rillieux-la-Pape. She got her Degree in Psychology at Université Paris 8 and studies Body Mind Centuring.
PHOTO: Eric Villemain