IMPROVISATION (Minamata, Japan) ©Nonoko Kameyama
GENERAL KEYWORDS: Improvisation, Palimpsest, Reenactment, Reconstruction
CHOREOGRAPHIC WORKS: Aprés-midi d’un faune (L’); Petrushka; Rite of Spring; Sacre #2; Sacre du Printemps
PEOPLE: Brun, Dominique; Chéhère, Philippe; Cocteau, Jean; Collantès, Nathalie; Foucault, Michel; Gourfink, Myriam; Merleau-Ponty, Maurice; Nijinsky, Vaslav;
PLACES: Paris 8, Switzerland
CITATION: Interview with Julie Salgues, Aurore Després, Nice (18/11/2021). Project “Mnemedance”, Collection Mnemedance (#Mnemedance15) URL:<https://www.mnemedance.com/julie-salgues>, (accessed dd/mm/yyyy).
INTERVIEWS MAY ONLY BE REPRODUCED WITH PERMISSION BY MNEMEDANCE
Aurore Després has carried out intensive research with dancer Julie Salgues on her interpretation of the solo of The Chosen One in Sacre#2 (2014), a reconstruction by Dominique Brun of Vaslav Nijinski’s Rite of Spring. Aurore and Julie discuss the role of memory and oblivion in the interpreter’s work by opening the palimpsest of all the supporting material, documents or archives, from the solo of The Chosen One.
SACRE#2 (2018) by Dominique Brun - Version without costumes, version pianola ©Yvan Chaumeille
What is your first memory that triggered your dance poetics?
When and how did you define yourself as a performer?
During your dance journey, what do you think you forgot or lost?
What kind of knowledge do you keep in your body?
How does your work as a performer integrate the history and memory of dance?
Do you consider yourself a “body-archive”?
Could you speak about the conservation and transmission of your knowledge as a performer?
What is your specific relationship to the archives of Rite of Spring reenacted in Sacre#2 from the perspective of the dance performer for Dominique Brun?
During our first interviews, I was struck by the fact that Valentine Hugo's drawings seemed distant or even forgotten to you. How do you explain this phenomenon?
Could you speak about some of your main “supports” which inspire and underpin your interpretation of the solo of The Chosen One?
We often forget that the solo of The Chosen One begins with long immobility. What are your “supports” here?
In his Untimely Considerations, Nietzsche affirms that forgetting is a necessity for remembering. What do you think?
LA MEMOIRE COURTE (1999) ©Nathalie Collantès
JULIE SALGUES received an education as a dancer at the Conservatoire National Supérieur de Musique et de Danse (CNSMD) in Lyon. She continued with a Master's degree in Performing Arts in Paris 8 and then with a degree in Choreographic Culture with Laurence Louppe (Aubagne). As a performer, she follows the path of three choreographers: Dominique Brun, Nathalie Collantès and Myriam Gourfink. Between 2008 and 2018, she danced the role of The Chosen One in Rite of Spring by Nijinsky (1913) and reconstructed by Dominique Brun from the archives of the time. In collaboration with Philippe Chéhère, she organizes dance workshops for people affected by Huntington's disease, formerly called Dance of Saint-Guy, and from 2015 until 2017 with the support and the funding of the Henri-Mondor AP-HP hospital in Créteil. She wrote with Nathalie Collantès a book for children entitled On danse? (Éditions Autrement, 2002).
AURORE DESPRÉS supervises Higher Degree Research (HDR) projects in performing arts at the Université Bourgogne-Franche-Comté. She is a researcher at the ELLIADD Laboratory, an Associate Member of the Laboratoire du Geste at Paris 1-Panthéon-Sorbonne and member of the Association des chercheurs en danse (aCD). Dancer and choreographer, her research focuses on gesture and its perception, time and the archive in the field of contemporary choreography with an aesthetic approach that is ecological, archaeological and political. She conceived the online audiovisual archive FANA Danse & Arts Vivants, which includes the collections of Dominique Bagouet-Carnets Bagouet, Ingeborg Liptay, Olivia Grandville, Mark Tompkins. She directed the program Art, Danse et Performance (2011–2014), and the collective edition that followed, Gestes en éclats, Art, danse et performance (Presses du réel, 2016). Her recent research concerns the formulation of a “sensitive archaeology of gestures” from the point of view of the performer Julie Salgues dancing the solo of The Chosen One in Rite of Spring, recreated by Dominique Brun in 2014.