Régine Chopinot

Régine Chopinot , born in 1952, with Extremely-with-the Eau, in Algeria, is a Danseuse and French Chorégraphe of Contemporary dance.

Biography

Attracted as of its more young age by choreographic art, Régine Chopinot studies the Ballet dancing, then discovers the Contemporary dance with Marie Zighera in 1974. It goes then to teach on slopes of Cross-Russet-red (Veronique Ros of the Barn was one of its pupils) and to found with Lyon, in January 1978 - time during which the young French dance is in creative boiling -, its own company, the “ Compagnie of Grèbe ”, associating dancers, actors and musicians. It signs its first choreographies then. Three years later, it receives the second price with the international choreographic Concours of Bagnolet (Seine-Saint-Denis) for the part “ Halley' S Comet ” (1981).

Its following creations, Delights and Via , insert the Multimédia and the Cinéma in the world of the dance and use novel methods of lighting. For the creation of Delights , (1983), Régine Chopinot meets the dressmaker Jean-Paul Gaultier. The two artists thereafter will continue to work together during 10 years, for the Procession (1985), K.O.K. (1988), Anna (1990) and Frontage (1993).

In 1986, Régine Chopinot is named director of the national choreographic Center of Poitou-Charentes to La Rochelle, which becomes in 1993, the “Ballet the Atlantic-Régine Chopinot” (BARC). At the beginning, it chose La Rochelle because it was a place where it was given to him to be able to work, “a space open on the sea, unbounded, without barrier, where one can project oneself far and it is a fundamental feeling for an artist in research”.

Régine Chopinot, disturbing and undisciplined, dynamite all conventions of its Article the majority of the fifty choreographic parts that it created since 1978 were born from collaboration with artists plastics technicians like Andy Goldsworthy, Jean Gac or Jean-Michel Bruyère, of the musicians like Tone-That Thiet or Bernard Lubat. Of 1983 with 1993, the dressmaker Jean-Paul Gautier has designed the costumes of all its spectacles.

It is difficult to define a single discussion thread in the totality of its choreographic, vast and voluntarily multiform work. After the parts rich color of its beginnings where humor and the esthetic provocation dominated, second half of the Nineties was characterized by a meditation on the nature and the gasoline of the human being. In 2002, Flesh-Obscure , part made up for six dancers, marked the beginning of a new phase of work exploring the meanders of the life and death, time and the memory, while dissolving the choreographic form little by little.

In 2004, W.H.A continued this way in a significant way, six interpreters déconstruisant time and space in an euphoric vice of energy.

The March 2nd 2006, it creates, with the Fromentin vault, with the La Rochelle, O.C.C.C , which come to close this “ Triptyque of the End of time ”, a vast questioning of choreographic creation through a setting in voluntary crisis of the general concepts of time, memory and construction. The successive conditions of the triptych accompany and represent the evolutions of the choreographer engaged on an experimental working hypothesis, like specifies it Rosita Boisseau in the critic of the spectacle which it published in Le Monde the March 14th 2006: “Having disappointed all the forecasts, fears and hopes eschatologic, couldn't an end of time have taken place already, but without there being average immediate to know it? Couldn't it be occurred without engaging the disappearance of the existence, but only that of the human life, the life in what it has of human? I.e., to have been an end of time to the letter: a disappearance of time, the disappearance of passed and future, experiment and to become”. O.C.C.C. considers the present, like the last of times, like time remaining always already finished, one sempiternal and broken down present, in which we would be “to only remain”, without origin and goal, in the rarefaction of the relation and, probably, all little by little D-animalisés. Unless we find there once more and in spite of the end of the circumstance, the means of keeping driving the movement of the relation, this perpetual rolling up of the One with the infinite course of the Other and of which irreducibility alone, the man in the human one maintains?

Parallel to its work of choreographer, Régine Chopinot collaborates as an interpreter with artists to which the universe is close for him, like the choreographer Alain Buffard ( Wall dancin' - Wall fuckin' - (2003), Mauvais Kind - (2004)), the duet of South-African performeurs Elu and Steven Cohen ( I wouldn' T Be seen dead in that , created with the company of the BARC in 2003).

The presentation of its spectacle the dance of time at the time of the festival Hooted 2000, made it possible to set up a project with Vietnamese dancers within the framework of a collaboration with the university of dance of the Vietnam and the Opera ballet of Hanoï. Since 2002, Régine Chopinot works regularly with eleven Vietnamese dancers who came to work nine months with La Rochelle. One of the objectives of this collaboration of the BARC with Vietnam is the opening of a center of contemporary dance in Vietnam. This partnership enables him to train dancers and to create spectacles. In 2002, it created the part Anh Mat with Vietnamese dancers for the Festival of Hué. In 2004, it presents to it Giap Than , a new creation with the same Vietnamese interpreters, which combines a precise choreographic writing and spaces of improvisation.

Chronology of creations of Régine Chopinot

Garden of stones (1978);
My Large' mother Hippocampus (1878);
Pierre in water (1979);
the Origin of the fish (1979);
Backward flow (1979);
In Réaction (1980);
Halley' S Makes (1981);
In-draft (1981);
Wide variation (1982);
Simone Popinot , (1982);
Swim One (1982);
Delights (1983), choreographic Creation for 8 dancers and actors;
Via (1984), choreographic Creation for 5 dancers;
the Rats (1984), choreographic Creation for the dancers of the Choreographic Group of Research of the Opera of Paris (GRCOP);
Hard Raid (1984), Video, 13 minutes. Realization and decoration Marc Caro. Choreography Régine Chopinot;
Fred the Brothel (1985), choreographic Creation for 4 dancers;
Nightingale (1985), choreographic Creation for 9 dancers;
the Procession (1985), choreographic Creation for 16 dancers, actors and mannequins;
At the La Rochelle, it does not have only virgins there… (1986), choreographic Création for 9 dancers;
Gustave (1987), Film 35 mm, 6 minutes. Realization: Régine Chopinot;
K.O.K. (1988), choreographic Creation for 4 dancers, an actor, a singer and a pianist;
Transport (1989), choreographic Creation for 4 dancers;
Anna (1990), choreographic Creation for 19 dancers;
Saint-Georges (1991), choreographic Creation for 12 dancers;
Frontage (1993), choreographic Creation for 11 dancers, one reciting and an orchestra;
Soli - Bach (1994), choreographic Creation for 10 dancers. Clothing chosen in the collections of Jean-Paul Gaultier;
Vegetable (1995), choreographic Creation for 15 dancers, decoration of Andy Goldsworthy);
Column (1997);
Words of Fire (1997);
the Four seasons (1998);
Song of the moon (1999);
Dance of Time (1999);
Trans (E) (2000);
Me Monster (2000);
Flesh-Obscure , (2002); Choreographic creation for 6 dancers;
the oceanic Feeling (2002);
Not , new version of Song of the moon (2003);
W.H.A. (Warning Hazardous Area) (2004), choreographic Creation for 10 dancers. Clothing chosen among the costumes carried out by Jean-Paul Gaultier for the former ballets;
the Mechanics (2005);
O.C.C.C , (2006).

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