PASSAGES ©Bruno Simao
artist's website address
GENERAL KEYWORDS: Ballet, Bullfighting, Choreographic score, Language, Notation
CHOREOGRAPHIC WORKS: Drumming, Les Vagues, Portrait of Frédéric Tavernini, Removing, Set & Reset
PEOPLE: Balanchine, George; Bel, Jérôme; Brown, Trisha; Cunningham, Merce; Dominique Bagouet company; Forsythe, William; Forti, Simone; Graham, Martha; Gries, Lance; Halprin, Anna; Judson Church Theater Collective; Keersmaeker, Anne Teresa De; Le Roy, Xavier; Madden, Diane; Mallarmé, Stéphane; Paxton, Steve; Proust, Marcel; Rainer, Yvonne; Ryle, Gilbert; Sehgal, Tino; Tavernini, Frédéric
PLACES: Center National de Danse Contemporaine d'Angers, Montpellier, Nîmes, PARTS: School for Contemporary Dance
CITATION: Interview with Noé Soulier, Susanne Franco, Venice (22/10/2020). Project “Mnemedance”, Collection Mnemedance (#Mnemedance05) URL:<https://www.mnemedance.com/noé-soulier>, (accessed dd/mm/yyyy).
INTERVIEWS MAY ONLY BE REPRODUCED WITH PERMISSION BY MNEMEDANCE
From his memories of taking ballet classes next to his sister at a younger age to being mesmerised by the dance with death between a bull and a bullfighter, and to the first performance of Merce Cunningham dance company that he ever saw, Noé Soulier reflects on the memories that shaped his curiosity towards dance and choreography. Placing himself in the lineage of Western contemporary dance after the non-danse artists, he describes his approach to choreography as a way to create new movement configurations with the body and to organise events in space and time. In this choreographic condition, language is engaged as a tool to produce a specific effect on the dance performer while the connection with memory is rather expressed implicitly. As he explains, he explores suggestive movements that refer to other movements that, in turn, stimulate the spectator to trace and to recall through memory the associations that these movements create. This gap or connection between the fragments of abstraction and narration is covered by the effort to find meaning in every gesture and it becomes a continuous play with (re)inventing memory.
LES VAGUES ©Helge Krückeberg
Which are your first memories related to dance?
When did you start defining yourself as a dancer and choreographer?
Do you use any autobiographical material in your work as a choreographer and dancer?
Is there something that you would like to forget about the way you have approached dance until now?
Which methods of dance transmission have you experienced as a dancer?
How would you link your work as a dancer and choreographer to dance history?
Do you have any strategies for activating memory?
How do the words ‘repertoire’ and ‘archive’ resonate with your work?
Do you have a way of building an archive of your work?
REMOVING RESET ©Delphine Perrin
Born in Paris in 1987, NOÉ SOULIER studied at the National Ballet School of Canada and PARTS in Brussels. He received a master’s degree in philosophy at La Sorbonne University (Paris IV) and took part in Palais de Tokyo’s residency program: Le Pavillon. In 2010, he won the first prize of the competition Danse Élargie, organized by Le Théâtre de la Ville in Paris and Le Musée de la danse. In July 2020, he became director of the Centre national de danse contemporaine in Angers.
SUSANNE FRANCO is Associate Professor in Dance, Theatre and Performance Studies at Ca’ Foscari University of Venice and curator of dance events and programs for different Institutions. She is the author of Martha Graham (2003), Frédéric Flamand (2004), and she edited the special issue Ausdruckstanz: il corpo, la danza e la critica (Biblioteca Teatrale, 2006). She also co-edited Dance Discourses: Keywords in Dance Research (2007); Ricordanze. Memoria in movimento e coreografie della storia (2010) and The Oxford Handbook of Dance and Memory (forthcoming) with Marina Nordera; Moving Spaces. Enacting Dance, Performance, and the Digital in the Museum with Gabriella Giannachi, and On Reenactment: Concepts, Methodologies, Tools (forthcoming) with Cristina Baldacci. She was the coordinator for Ca’ Foscari’s contribution to Dancing Museums-The Democracy of Beings (2018–2021), and she is currently the PI of the international research project Memory in Motion: Re-Membering Dance History (Mnemedance; SPIN2 Università Ca’ Foscari Venezia, 2019–2022).