Derision  |
| Stéphane Bullion |
Figure Caligula, between myth and reality, has permeated the minds through false representations as both artistic and biographical characters often paroxysmal. Nicolas Le Riche was assistant to compete Guillaume Gallienne about deconstructing the myths, with a bias that can sometimes seem unsettling but gives a true artistic signature at work.
From The Lives of the Twelve Caesars by Suetonius , the authors have abandoned the comment of a linear historian augustat very hostile to extract highlights and checked-in fact very little-and in turn build credibility around an imaginary man, Gaius Germanicus Augustus, and not more Caesar Caligula said.
 |
| Stéphane Bullion |
It is admirable that in this first major choreographic work, Nicolas Le Riche has avoided the pitfall of regurgitation School Level stellar dancer it is. He erased modestly behind her story and here built a ballet that he probably liked to dance, as he finally did in 2008 - not an exercise in style around his virtuoso technical skill. He envisioned the ballet in terms of man and put his dance in the service of history, that is to say what and how to express through movement, emotional deconstructing and equally the story of Caligula as how to develop a ballet. By combining aspects of classic and contemporary, it was far from the cliches of both techniques by talking first bodies and expressions as unifying elements. Nicolas Le Riche has opted to assign to the different types very distinct roles, a Caligula unstable Mnester an incisive and sharp, a hieratic Shaer, a moon light and playful, a fun and frivolous Caesonia.
is the music of Vivaldi, who has accompanied the construction of these types and the choice of Four Seasons
, almost anecdotal at base, to illustrate the four-year reign of the Emperor lends itself more readily as we would have believed in the story progression as the musical line is well exploited in the choreography, the pleasant spring devoted to the beginnings of the reign, was drawing the first threats, the sadness of autumn developing the plot and announcing the end of winter, all included in a summary of moods the emperor in the fifth act. It's also because it is highlighted by the breaks being developed by Louis Dandrel for mime Mnester which itself serves as the abyss about formatting. Thus, a dialogue firmly rooted in the construction of the work serves as a common thread in the drama. The decor, simple and effective, is well worth the apparitions of Caligula its inputs against the light illuminated by a staircase or wings lined with cinnabar columns from which spring cluster dynamic sets.
With this third round of the ballet, Caligula is now available under the features that both Stéphane Bullion in the role of the emperor in that of pantomime Mnester really brought the choreography of Nicolas Le Riche in its most inspired during the month of February.
 |
| Stéphane Bullion |
In the absence of Jeremiah Bélingard who had created the ballet, Stéphane Bullion his mark initially as absolute and indisputable figure for August, so Mathieu Ganio who took up the role after also danced at the establishment, did not seem to have the means of presenting an adaptation to the gently comic figure of the Emperor Nicolas Le Riche. Without a significant and powerful dance but more of an ability to interpret varied and nuanced, as in the dance scene in the game, it could only give to see a flat version of meaningless a portrait seems thorough and subtle personality of the emperor when danced by Stéphane Bullion.
 |
| Stéphane Bullion |
Nicolas Le Riche has certainly not facilitated the task of his dancer-chiseling a title to be both grand and imperial its authority when not dancing, and tormented and indecisive in his movements. It is through her body and bends that Caligula shows her whimsical, uncontrolled, his madness and excess, but in a more analytical spectacular. Caligula stands out due to the strange irony because he wielded until the last degree. He pushed everything to the limit, hatred, love, the pettiness, stupidities. In this he referred to others a disturbing image. By projecting the story in extreme detail of the movement and looks, the choreographer has a vision in a highly intellectualized character's thought carefully choreographed. We must then live this lifetime and not just the dance without which every gesture seems an academic course. From the sly smile of the party initiating the nightmarish laugh of derision against his death, Caligula triumph insidiously. The Caligula
written by Nicolas Le Riche has its tyrannical incisions cleaver that only a powerful and virtuosic dancer measured but may make to restore a minimum
the violent aspect of the character that nobody disputes: it must be present, even if not interested in fine
choreographer and is a side-effect
. It is hard honing his arabesques and retracting the few spectacular jumps to more than a man touching or insubstantial. But if Nicolas Le Riche was aside banalities conveyed by the image one gives a man power to bloody interested in portraying the individual and his character, he does not mean the gum irrational and violent aspect of Caligula, he shows subtly.
 |
| Stéphane Bullion |
In his inner portrait of Caligula, Stéphane Bullion renders the harshness, coldness, ruthlessness of the emperor, his difference with others and magnify its status as the living God. It takes from start to finish in a seemingly contemplative or unpredictable, the wire held by a distance with the rest of the dancers and the voltage of the predator who observes his prey, but also the threat, certain of his superiority or at least a power which he uses at will. It struck and powerful dance that restores Stéphane Bullion jerking at the slightest movement of music that brings meaning to the bloodthirsty madness which history has chosen. Caligula solitary paranoid to the extreme is represented by a process sometimes vaulted, a sly eye, anger, violence that always seem to contain. Caligula is assassinated as does not tower arm, his grip psychological torture. It scares the unpredictability of his character and his ideas. He imposes fear on stage by his mere presence and is uncomfortable that the viewer wants to see it fly, see the resplendent in his arabesques, to see a power drop, conversely, it always contains. Because Caligula is febrile and ill, her jumps were rough, his movements jerky and sometimes unfinished illustrating the instability of the emperor. Nicolas Le Riche has sacrificed ease and aesthetics of dance in favor of a narrative written in depth movements.
 |
| Stéphane Bullion |
In parallel, as Caligula happy at times, Caligula absent eyes to infinity, Caligula curious to the Moon or gestures Mnester of Caligula filled with serene happiness with his horse, Caligula timid, calculating, suspicious, Caligula lost: they are feelings that Stéphane Bullion has no difficulty in deploying through his looks and body postures, the round back, this neck back to illustrate the distrust or stretched to the extreme to give the Moon. The treachery of the emperor, these large jumps and struck an instant power and contain the following, that look innocent and menacing to the Moon.
 |
| Stéphane Bullion - Clairemarie Osta |
Caligula revolve around the characters so real and unreal, objects of fantasy or threats. If Nicolas Le Riche seems to have wanted to strengthen the presence of Caesonia on stage in this new version by offering a brief but impressive introduction, it does not give him greater role in the narrative and its stealthy disappearance following the emperor after the show leaves Mnester a rare taste of regret in the construction of the ballet. Maybe he wanted a way of marking the misfortune of the emperor who aspired to the surreal and absolute love of the moon and had to settle for earthly wife, the fourth sign of dissatisfaction, and thus offer a counterpoint the beautiful golden appearance of Caligula.
 |
| Stéphane Bullion - Clairemarie Osta |
Clairemarie Osta in this role Intangible Moon was able to suggest fugacity and the unreal visions of Caligula. It is a perfect illustration of the outbreak of the small ball that great untouchable Caligula / Bullion evokes in his hands and confrontation of the two dancers is one of the most magical choreography. This reveals not duplicate that do not rely on contact between dancers. The meeting was unreal, they complement and buzz, game hunting and leaks. Appearing in the world of Caligula Clairemarie Osta does not descend on earth to the emperor, Stéphane Bullion she raises with her in a sphere in weightlessness. He takes up the challenge and interferes then a moment in the transparency of his dream. Her dance takes the texture from that of the moon, light and fleeting. Caligula hallucinating and suffering from the viewer to see this meeting possible. Low grazing angles and side lights lighten the atmosphere by creating an elastic bubble in which the dancers move.
 |
| Stéphane Bullion - Muriel Zusperreguy |
Muriel Zusperreguy gives the role a more palpable and content atmosphere at Mirage, a kind of attraction that pulls up to her while Caligula Osta Clairemarie never seems be within his reach. It gives a little humanity with extreme sensuality that transcends his interlocutor, but contracts a little magic moments of his appearances. Laetitia Pujol seems more to the trouble to understand the character she dancing, like Caligula's, so too academic about the drying.
 |
| Stéphane Bullion |
On land, dedicated to Caligula Mnester, admiration that will lose, puisqu'assassiné, they say, going one of its representations. Remote punctuating his premonitions of the ballet to take to turn an active role in setting out its abyss, the actor-loved pantomime of the emperor moved into an icon in the ballet of Nicolas Le Riche. If the staging of his speeches the singles, it also adopts a dance rooted in the sharpness and severity. Dressed in white, he is the commentator of the dark reign, merciless omen contrasting illustrations that shows all of his predictions or strange look on events.
 |
Mnester and three figures
Stéphane Bullion, Carniato Alexander, Samuel Brick, Erwan Le Roux |
Surreptitiously, movements evoke the characters while maintaining a distinct identity in the style. The dance is sharp, earthy, geometric and sharp, echoing recovery or enhanced by the three figures. Each intervention hangs over the course of history and contribute, through its content and its appearance posed as an incantatory evocation in black and white in a colorful, contrasting to the reality of the story. Because he plays alone or with his figures, contemporary style well defined by the electronic music of Louis Dandrel supported by video projections, Mnester offers a strong counterpoint to Caligula, the mirror of its mystery.
 |
| Stéphane Bullion |
when faced with the emperor, Stéphane Bullion crushes naive and immature child Mathieu Ganio. In his speeches in the forefront, his authority in the choreography and the depth of his gaze makes Mnester a charismatic leader rather disturbing in style while millenarian proves untouchable when officiating in his final performance for the public to the Court. He becomes the incarnation of the god Caligula claims to be, untouchable and inviolable, the possessor of the future, distance from master to student, revealing the futility of the Emperor Mathieu Ganio. By seizing Mnester as a stage animal-shaped roller, both powerful and enigmatic, Stéphane Bullion presents an opposite view, probably necessary for his art to his vision of a complex Caligula, but physically dominating psychologically fragile in other distributions and fully illustrates the top position on the Status of mime in imperial Rome.
Nicolas Paul Stéphane Bullion face Mnester draws a softer and more restrained, more theatrical, obviously objects of love and curiosity. The relationship between the two men is just another in the confrontation. Fast and accurate in his prophetic interventions, it is an object of desire in his brief dialogue with Caligula as a mirror of the male moon in its changes impalpable. The distance is then a form of respect for the emperor to the actor admired rather than a sense of domination and surrender.
 |
| Nicolas Paul |
Whether the moon or Mnester, Caligula is constantly searching. This quest of the unknown is also materialized in his report to Incitatus, his horse. But unlike the Moon or dreamed Mnester untouchable, Caligula dominates Incitatus. His look of love is full of control and the armory, if it represents a moment of poetry in ballet, seems incongruous in the progression of history, if not qu'Incitatus is almost the only one watching Caligula without judging.
In contrast to his first love, the Court offers a dance characterized by its aggressiveness while maintaining the elegance of the noble status it represents in sets clear and distinct. Dressed in black senators oppose an aerial dance that follows the golden earth.
Shaer old senator whose Caligula loved to laugh, is shown here as leader of a collective revolt, a palace revolution in which the courtiers, tired of the unpredictability of the emperor, his extreme impudence, will be resolved to get rid of it.
 |
| The Court conducted by Yann Saiz and Aurélien Houette |
The warm lighting and the required supporting women golden stirring constantly in a court in vain. The splendor and dynamism of imperial Rome embodied in a ballet company that outsources its uselessness welded or his idleness by a repetitive and deceptively sharp choreography, visually devilishly effective. The senators, wearing a costume near the body that defines the clear background of the scene in the air like knives handled vacuum during their many changes in the group, often supported by movements of the lower body very specific in throws or jumps to other poses severe. It is also seething that this emphasizes the singularity of the interventions of Caligula, raised in the moments where he participated in the festival, violent and precise when he was not invited. In drawing this portrait of the decadent daily, Nicolas Le Riche adds to the ambiguity in the portrait of the emperor, and if the viewer is not going to like Caligula, he is not discouraged to hate Shaer and plotters.
 |
| Stéphane Bullion - Aurélien Houette |
Three "physical" embraced the role with authority, winning by Aurélien Houette its strength and its ability to propose a reasonable objection to the middle of Stéphane Bullion, especially during the seizure. Adrien Couvez has added just enough in the interpretation to present a natural soured in the course of the ballet. Yann Saiz was more difficult to impose a low silhouette through his endless dominating all the dancers on stage, but as Adrian Couvez had his guts out to dominate, Yann Saiz has internalized suffering to show more sincere than the character of Aurelian Houette computer spontaneously.
 |
| Stéphane Bullion |
The general tone of the ballet Nicolas Le Riche provides a free paint but without excessive indulgence in the life of Caligula. Relying on the rich dance, sincere and realistic Stéphane Bullion, always emotional in its reserves as its excesses, it avoids the excesses and superfluous chatter, going straight to the point while providing a rich texture, now all of its history by light touches expressive and prominent on that surf music of Vivaldi worked with handle by Frederic Laroque. A beautiful ballet carefully thought out and done with talent.
 |
| Stéphane Bullion |
