Maud Le Pladec’s “TWENTY-SEVEN PERSPECTIVES” Graces the UK Stage
When the iconic Sadler’s Wells Theatre opens its doors this Monday and Tuesday, 30th and 31st October, the air will be thick with anticipation. The reason? Maud Le Pladec is set to present the UK premiere of the much-lauded masterpiece, Twenty-seven perspectives. For art aficionados across London, this is an event that demands attendance.
Understanding “TWENTY-SEVEN PERSPECTIVES”
Delving into the depths of Schubert’s Unfinished Symphony, Le Pladec showcases a unique ability to bring to life what is otherwise unseen or unheard. The masterpiece, long considered a beacon of musical brilliance, finds a new voice under the new direction. With an ambition to “finish” this piece, Le Pladec embraces a rejuvenated choreographic expression, moulded and redefined for this show.
A tapestry of dance, this piece brings together ten dancers, each stemming from varied backgrounds, presenting a unified vision of Le Pladec’s artistry. The dance formation seems like an exquisite symphony, altering the way we consume music and dance, challenging norms and shattering expectations.
A Glimpse into Maud Le Pladec’s World
Emerging from the prestigious National Choreographic Center of Montpellier, Le Pladec’s dance journey has seen her collaborating with industry stalwarts such as Georges Appaix and Mathilde Monnier, among others. Her earlier works like Professor and Poetry set the tone for a career that would be anything but ordinary.
Le Pladec’s explorations haven’t just been limited to Europe. In 2013, she ventured to New York, delving into the realms of American post-minimalist music. Pieces like Democracy and Concrete emerged from this tryst. Her emphasis on amplifying female voices led to works like Hunted, co-authored with the talented Okwui Okpokwasili.
Her collaboration with prestigious institutions such as the Paris National Opera further cements her place in the dance pantheon. Since taking over as director of the National Choreographic Center of Orleans in 2017, Le Pladec has overseen an array of stunning creations, the latest being Silent Legacy featured at the Festival d’Avignon.
For those in London, missing out on Twenty-seven perspectives would mean bypassing a transformative art experience. As the capital’s art enthusiasts continually seek the next big thing, this promises to be it. As you prepare for the week ahead, here’s our tip: Make your way to Sadler’s Wells Theatre. Let Le Pladec’s artistry sweep you off your feet, and immerse yourself in a world where music and dance intertwine in the most magical ways.
An Intimate Dance with Simon Feltz and Régis Badel : Behind “Twenty-seven perspectives
We had the privilege to catch up with Simon Feltz and Régis Badel before the show’s debut.
Simon: Painting Movement on a Canvas of Music
In the vibrant tapestry of contemporary dance, few performers merge passion and precision quite like Simon. As the anticipation mounts for the UK premiere of “Twenty-seven perspectives” at the renowned Sadler’s Wells Theatre, we delve into Simon’s artistic psyche to unearth the inspiration behind his mesmerizing movements.
Hailing from a tenure with the Lyon Opera Ballet, Simon acquired the adaptability needed to tackle varied choreographic works. The Opera, celebrated for its choreographic diversity, instilled in him the prowess to navigate the ebb and flow of creative versatility. However, it was his alliance with Maud that truly anchored his artistic journey. “Working closely with Maud transformed my approach. Even amidst doubts, her lucid vision for the project serves as my guiding light,” Simon recalls.
The music-dance liaison in “Twenty-seven perspectives” is palpably evident, with Franz Schubert’s legendary ‘Unfinished Symphony’ pulsating at its core. Simon’s repertoire, enriched by stints in repertory and creation, embraces Schubert’s melodies with an almost innate familiarity. Yet, the dance isn’t mere accompaniment. As Simon highlights, the precise choreography choreographed by Maud demands that each note be mirrored with impeccable timing and emotion.
Drawing parallels between the world of visual and performing arts, the performance pays homage to Rémy Zaugg’s conceptual work. Just as Zaugg meticulously dissected a Cézanne painting, the dancers deconstruct Schubert’s symphony, unveiling its multifaceted layers with each rhythmic step.
The intricate choreography, which Simon describes as ‘scaled down and mathematical’, presents an arduous journey. But like any profound artistic endeavor, the endpoint justifies the initial hurdles. “The complexities are initially overwhelming, but the culmination is a dance spectacle that’s rewarding and soul-satisfying,” he expresses.
In a theatrical universe dominated by grandeur, the minimalist setting of “Twenty-seven perspectives” stands out. The stage, reflective and white, mirrors the canvas of a painter, waiting for strokes of genius. For Simon, the railings add depth, making the vast expanse seem endless. “In this simplicity, all dancers converge, becoming one cohesive entity,” he reflects.
Layering this minimalist backdrop is Eric Soyer’s evocative lighting design. Having collaborated with artistic giants like Joël Pommerat and Le Pladec, Soyer’s lighting lends poetic depth, casting dancers in a gentle glow that magnifies their every move.
As the day approaches for Simon to grace the hallowed stage of Sadler’s Wells, his preparations intensify. A blend of rigorous gym and yoga regimens keep him physically agile, while mentally, the weight of the legacy associated with the venue is ever-present. Yet, Simon’s fervor remains undeterred. “Music and dance have always been intertwined for me. At Sadler’s Wells, I wish for the audience to experience this musical confluence,” he ardently conveys.
As the curtains are set to rise, Simon’s vision resonates with clarity. Beyond the applause and accolades, his aspiration is singular – to let Maud’s passion reverberate through every seat, allowing audiences to experience the universal allure of music and dance.
Simon Feltz’s profound insights into “Twenty-seven perspectives” shed light on the intricacies of this unique dance piece, promising an unforgettable performance for all. As the lights dim and the music begins, London is in for a treat.
Régis Badel: An Odyssey of Rhythm and Dance
The realm of contemporary dance often intersects with other art forms, and perhaps no one knows this better than Régis Badel. With a distinct blend of rhythm and movement, he’s carved a niche for himself on the world stage. As he sits down to discuss his illustrious journey, we unravel the man behind the performance.
Hailing from Lyon, Régis’ tryst with dance began at the renowned Conservatoire de Lyon. Interestingly, alongside his dance lessons, he nurtured a growing passion for music. “My musical roots, especially from my mum’s side, have been crucial. They’ve shaped my rhythm and deepened my understanding of scores,” he reflects. This dual foundation in music and dance would later become instrumental for his groundbreaking works, notably “Twenty-seven perspectives”.
But the dance world is vast, and Régis didn’t limit himself to one school. From the Paris Conservatory’s wide spectrum of contemporary dance to the international corridors of the PARTS school in Brussels, he imbibed varied influences. It was this eclectic training that would make him a perfect fit for collaborations with choreographers like Maud Le Pladec. “Maud looks for a unique blend of discipline, technique, and improvisation – something I owe to my diverse education,” he remarks.
Over the years, Régis’ portfolio has become a testament to his versatility, boasting collaborations with avant-garde choreographers like Boris Charmatz and David Wampach. “Working with stalwarts like Boris and David has been transformative. Boris showed me the heart of conceptual dance, while David underscored the importance of connecting with the audience,” he recounts.
In a rapidly digitizing world, the dance realm isn’t untouched by technology. Régis’ innovative project “Twenty-seven perspectives” leverages Phonak earpieces for a unique auditory experience. However, he maintains a reverence for organic dancing, stating, “While I’ve dabbled with tech, there’s an irreplaceable charm to dancing without electronic intervention.”
When quizzed about “Twenty-seven perspectives”, he sheds light on the diverse dance styles it encompasses, emphasizing the mutual learning among its diverse cast. He elaborates, “Though our dance backgrounds vary, each performer brings a distinct quality, enriching the collective performance.”
The mathematical choreography of Le Pladec, coupled with Régis’ musical background, gives birth to a mesmerizing synergy on stage. “For Maud, it’s about making the audience hear the dance and see the music. My musical foundation allows me to manifest these notes into fluid movements.”
Every artist has their canvas, and for Régis, the white floor of the stage is his. “It’s a realm of endless possibilities,” he muses. It’s this canvas that has witnessed many of his collaborations with Maud, a partnership he cherishes deeply. He admires her precision in weaving dance, space, and music together, creating an immersive experience for audiences.
But what truly sets “Twenty-seven perspectives” apart is its inspiration from Rémy Zaugg’s philosophy. Régis explains, “Much like Zaugg’s art deconstruction, our performance presents fragmented movements, slowly merging into a coherent narrative.”
As our conversation winds down, we touch upon the future. “My journey with Maud has been rewarding. Our decade-long association is built on mutual respect,” he says, his eyes gleaming with ambition. “But the dance never stops. I aspire to collaborate with more celebrated choreographers and be a beacon in global art and music circles.”
In Régis Badel, the world of contemporary dance has not just a performer, but a philosopher, constantly pushing boundaries and redefining norms. And as he pirouettes into the future, the world will undoubtedly be watching.
Amidst the luminous brilliance of “Twenty-seven perspectives”, Simon and Régis are not the sole beacon of talent. Sharing the spotlight with him is a constellation of equally passionate and skilled dancers. Matthieu Chayrigues, Maria Ferreira Silva, Alexandra Fribault, Aki Iwamoto, Daan Jaartsveld, Audrey Merilus, Noé Pellencin, and Jeanne Stuart each bring their unique flair and essence to the stage. Together, they form a harmonious ensemble, intertwining their individual narratives to craft a mesmerizing tableau of movement and emotion. Their collective performance serves as a testament to the rich tapestry of talent that defines this production.
Maud Le Pladec presents the UK premiere of Twenty-seven perspectives at Sadler’s Wells Theatre on Monday 30 & Tuesday 31 October.
