Parc National A projet by Anne Delahaye and Nicolas Leresche

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2 Parc National A projet by Anne Delahaye and Nicolas Leresche - creation 2015 The new creation by Anne Delahaye and Nicolas Leresche contrives sensory areas which invite to inhabit dance beyond some cultural and movement codes, inside the solitude of prime bodies. Before our eyes, a flowing sequence of bare choreographic landscapes creates another way of being in the world, combining the animal and vegetal, mineral and sculptural. It plays with our perceptions and senses by questioning and disrupting the fault lines, proper to our beliefs, between nature and culture, human and non-human. Bertrand Tappolet, Journal de l'adc (extract) Anne Delahaye and Nicolas Leresche created their first performance «Magica Melodia» for the festival la Bâtie in Geneva in With this project, they won the SACD prize for young talents in the circus category. Since then, they have been pursuing a singular and transdisciplinary work which led them to create in 2011 «Le corps du Trou», a dance piece presented as a performative installation. Aside from their choreographic work, they collaborate with different companies and designers (Isabelle Schad, Jean- François Duroure, Marco Berrettini, Massimo Furlan, Yan Duyvendak, Nicole Seiler, Éloize Circus, cle club des arts, Oskar Gomez Mata, Maya Bösch, Philippe Saire...) Anne Delahaye and Nicolas Leresche were artists associated with far festival des Arts vivants Nyon for the years 2013 and Following a work inititated with «Le corps du trou», «Parc National» is developing a form in which sound, light, stage design and bodies jointly participate in the development of meaning. They are all rhythmic structures, which together make it possible to move (and affect) space and its volume.» «... it had to be done. Managing successfully such a full performance while talking about the void... No matter if it is the end of the world or its very initial stage. The important thing is that rising sun, this moon cooling the atmosphere, the rattle from the sleet which can be heard and those chords touching the heart. The important thing is the visual and sound environment. A success.» MPG, Le Temps, about the performance «Le corps du trou»

3 Création team Conception : Anne Delahaye, Nicolas Leresche Performers : Anne Delahaye, Nicolas Leresche Sound creation : Rudy Decelière Sound management and machine building : Raphael Raccuia Lights : Bruno Faucher Dramaturgy : Sébastien Grosset Scientific support: Serge Margel Stage design : Anne Delahaye, Nicolas Leresche Scenic construction: Ferronerie des Gares et Vincent Deblue Wardrobe: Julia Studer Production : Groupe J.M.a.n (Cie de Genève) Co-productions: adc Genève, Migros Pourcent culturel Prairie Supports: Ville de Genève, Loterie Romande, Fondation Ernst Göhner Stiftung, Fonds Mécénat SIG, Stanley Thomas Johnson Foundation, Fondation Sophie et Karl Binding, Fonds d encouragement à l'emploi des intermittents genevois, la Collection suisse de la danse Prix de documentation vidéo, en cours. Associate artists committee: far festival des arts vivants Nyon Residencies: théâtre Arsenic-Lausanne, Théâtre Les Halles Sierre, Comédie de Genève (salle Cécilia), studio adc Genève, Château de Monthelon-F Dates :18 th of February until the 1 st of March 2015, creation at the adc Genève Administration and distribution Tutu Production, contact@tutuproduction.ch tél :

4 Foreword Since the 18th century, the opposition between nature and culture has supported the development of science and more generally all the thought of Western societies. The physical nature is an objective reality, extrinsic to Man and which can be described and explained. This polarization has spread to the entire system of thought, and perception of the world is built on a bi-categorization: the rational vs insanity / civilized vs wild / man vs woman, etc. This vision of nature before culture has also served as justification for the nation states, linking people to land. Every society and its culture would be the fruits from the nature around them. The establishment of institutions and symbols has strengthened this sense of belonging between a population and its land, to then legitimate a territory and its borders. The creation of national parks (from 1864 in the US) and natural history museums participated in the construction of national identity. These institutions organized the establishment of the separation between what is nature and what is culture: on one side a population connected to a nature which needs to be preserved and enhanced and on the other hand, a society that is extracted from nature by its culture which should be showcased and sanctified in institutions. Although they did not happen exactly at the same time, the national conservatories of music and dance (from the beginning of 19 th c. in France) are used to preserve a certain idea of dance and especially of the body, a constructed element, formed and prepared following rationality, codes and techniques. But the legacy of this schematic dualistic worldview is questioned, especially by Phillippe Descola, anthropologist and philosopher, in his book "Beyond Nature and Culture", published in He explained that the legal separation between the natural and cultural side of Man tends to disappear especially with the developments in assisted reproduction (from in vitro fertilization to the cloning of mammals), advanced grafting and transplantation techniques and the ambition to work on the human genome at an early stage of embryogenesis. Today, with the advance of science research (human as much as natural), we are witnessing a questioning of this polarized vision; like it or not, the separation between nature and culture is less clear than before. «...It is impossible to superimpose on man a lower layer of behavior which one chooses to call 'natural' followed by a manufactured cultural or spiritual world. Everything is both manufactured and natural in man as it were in the sense that there is not a word, not a form of behavior which does not owe something to purely biological being and which at the same time does not elude the simplicity of animal life and cause forms of vital behavior to deviate from their pre-ordained direction through a sort of leakage and through a genius for ambiguity which might serve to define man.» Maurice Merleau-Ponty, Phenomenology of Perception

5 The scenography, the image and the mark The picture on the front page of this folder (we took it during our outdoor work sessions) will be the main element of the stage design. It will be printed on a back-lit surface, a type of cyclorama of 26ft 6in/19ft 8in. Scenography, aside from this monumental element, will be as stripped as possible: it does not act to give the illusion of nature through imitation, with fake plants for example, but to be in the clear representation. Duplication of the human figure on stage, visible in the image, will allow us to work with the various components of the sign: the referent, the signified and the signifier. By playing with combining them or not, these elements (stage, human and sound) will work in echo with each other and create a common score. the image, but extended to all senses... a world where the frantic race of human beings would have given way to a certain slowness, specific to all forms of life. "Julliard J.Enckell In the project "Parc National", the role of image is preponderant and the sound processing will strengthen but also divert the conveyed imagination. Dance will be found both in the motion of the physical body and in the motion of this picture of a nature and a body. As for the use of a back-lit cyclo, it will allow us to work on the appearance or disappearance of this mark that is the photographic image. The sound On this project, we will continue the work initiated in collaboration with the visual artist Rudy Decelière on our previous performance. Beyond the beauty of his works and the sensory experiences they provide, the work of Decelière is carried by a vision of the world and a special attention to the physical mechanisms generated by his sound devices. He develops a work "where human perceptions are not blinded by

6 Biographies Anne Delahaye, Nicolas Leresche After a training in classical dance, Anne Delahaye joined the Conservatoire National Supérieur de Lyon (CNSMD) which she graduated in contemporary dance. She works, among others, with Jean-François Durour, Marco Berrettini, Coy Alias, Philippe Saire, Paolo dos Santos, Sylvie Giron. At the same time, she develops a work around improvisation with Isabelle Schad. Since 2001, she has worked with the artist Massimo Furlan in most of his pieces and performances. In 2010 and 2011, she also collaborated to the creations of Nicole Seiler (Playback) and Yan Duyvendak (SOS). Their pieces and performances have been presented at the festival La Bâtie-Geneva, the festival les Urbaines in Lausanne, the théâtre de l'usine-geneva, the far festival for the living arts-nyon, the Swiss cultural center in Paris and in several national theaters in France (Manège de Reims, Hippodrome de Douai, the Carré des Jalles-Bordeaux). Graduated from the Scuola Teatro Dimitri (Switzerland) and the National Circus School of Montreal (Canada) Nicolas Leresche has worked as an interpreter for Yan Duyvendak, Marco Berrettini, Massimo Furlan, Oscar Gomez Mata - L'Alakran, Maya Bösch, Cie Alias, Youngsoon Cho Jaquet, Marièle Pinsard and Éloize Circus. Anne Delahaye and Nicolas Leresche founded La cie de Genève in They co-signed several pieces and performances, "Magica Melodia" (winner of "Young talents circus-f" prize of the SACD) in 2008, "Le corps du trou" in They created several performances including "Duckland" in 2010 for Stromereien festival in Zurich and the Villa Baron in Geneva and "Pouvoir du point" as part of the far festival in Nyon in 2013.