{"id":3759,"date":"2024-05-30T10:12:34","date_gmt":"2024-05-30T08:12:34","guid":{"rendered":"http:\/\/wptestkevin.ovh\/.Dev\/?post_type=product&p=3759"},"modified":"2025-03-10T16:40:29","modified_gmt":"2025-03-10T15:40:29","slug":"eclairer-le-spectacle-vivant","status":"publish","type":"product","link":"https:\/\/wptestkevin.ovh\/.Dev\/formations-programmees\/les-inclassables\/eclairer-le-spectacle-vivant\/","title":{"rendered":"Eclairer le spectacle vivant"},"content":{"rendered":"

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Cr\u00e9er une texture par la lumi\u00e8re, soutenir une intention au plateau<\/h4>\n

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Consid\u00e9rer la lumi\u00e8re comme \u00e9l\u00e9ment dramaturgique \u00e0 part enti\u00e8re d\u2019un spectacle est un enjeu majeur des cr\u00e9ations d\u2019aujourd\u2019hui. L\u2019aborder ainsi n\u00e9cessite de la part de l\u2019artiste auteur d\u2019en maitriser les enjeux esth\u00e9tiques mais aussi les bases techniques. R\u00e9ciproquement, le cr\u00e9ateur lumi\u00e8res, au service du projet artistique global, devra saisir l\u2019impact de son geste sur l\u2019\u00e9criture au plateau. <\/span>Cette formation s\u2019attache \u00e0 observer l\u2019impact de la lumi\u00e8re sur celui qui regarde, le spectateur, sur celui qui s\u2019expose au regard, l\u2019acteur, et sur l\u2019espace de repr\u00e9sentation. Elle balaye l\u2019\u00e9ventail des possibilit\u00e9s couvertes aujourd\u2019hui par les diff\u00e9rents types de mat\u00e9riels et leurs utilisations. Elle fournit ainsi aux cr\u00e9ateurs les \u00e9l\u00e9ments n\u00e9cessaires pour poser les lignes directrices d\u2019une cr\u00e9ation lumi\u00e8re et dialoguer avec leurs \u00e9quipes, et aux interpr\u00e8tes une sensibilit\u00e9 aiguis\u00e9e \u00e0 ce m\u00e9dium.<\/span><\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00a0\u00bb4.19.0″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_text_color=\u00a0\u00bb#2271b1″ custom_margin=\u00a0\u00bb||5px||false|false\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]A l’issue de cette formation, les participants seront en mesure de :<\/strong>
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– cerner les enjeux techniques du travail artistique et r\u00e9ciproquement<\/span>
– conna\u00eetre les diff\u00e9rents mat\u00e9riels pouvant \u00eatre utilis\u00e9s<\/span>
– formuler une direction artistique <\/span>
– rep\u00e9rer les outils techniques pertinents<\/span>
– transposer en termes techniques des exp\u00e9riences innovantes<\/span>
– accompagner une mise en sc\u00e8ne, une mise en voix, une chor\u00e9graphie, une partition musicale…<\/span><\/p>\n

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A l\u2019issue\u00a0de cette formation, la compagnie ou le producteur<\/span><\/span><\/strong> am\u00e9liorera sa qualit\u00e9 de dialogue et d\u2019argumentation et la fluidit\u00e9 des ses \u00e9changes avec ses partenaires ext\u00e9rieurs, notamment les lieux d\u2019accueil.<\/span><\/p>\n

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A Saint-Denis – Cycle de 5 jours – 35 heures
La Chaufferie – 10 bis rue Maurice Thorez \u2013 93200 Saint-Denis<\/em><\/span><\/p>\n

Dates \u00e0 d\u00e9terminer. Nous consulter : formation@agecif.com<\/a><\/span><\/p>\n

Formation organis\u00e9e en partenariat avec la <\/i>Compagnie DCA\/Philippe Decoufl\u00e9 <\/i><\/strong>en collaboration avec Danse Dense<\/strong>, p\u00f4le d\u2019accompagnement \u00e0 l\u2019\u00e9mergence <\/em>chor\u00e9graphique et en partenariat avec l\u2019AGECIF<\/strong>. <\/em>Philippe Decoufl\u00e9<\/strong>, chor\u00e9graphe et directeur artistique de la Compagnie DCA<\/strong>, <\/em>figure embl\u00e9matique de la danse en France, propose pendant 5 jours, <\/em>\u00e0 l\u2019occasion de ce stage organis\u00e9 dans son lieu de travail, La Chaufferie, <\/em>une approche transversale qui mixe disciplines, pratiques et artistes de tous horizons.<\/em><\/p>\n

Proc\u00e9dure d\u2019inscription<\/strong><\/span>
Envoyer CV et motivations :\u00a0formation@agecif.com<\/a><\/span>
Les demandes sont trait\u00e9es par ordre d\u2019arriv\u00e9e jusqu\u2019au 31 juillet.<\/p>\n

Le nombre de places est limit\u00e9 \u00e0 15.<\/p>\n

Conseil :<\/strong> <\/b><\/span>Nous contacter au plus t\u00f4t pour \u00eatre certain d\u2019avoir une place.<\/p>\n

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Seront notamment abord\u00e9es les th\u00e9matiques suivantes :<\/strong><\/span><\/p>\n

Les diff\u00e9rents types de mat\u00e9riels <\/span>
les projecteurs traditionnels (Fresnel, d\u00e9coupes, plans convexes, poursuites, PAR, aircrafts, blinders, rampes, sunstrips, horiziodes, cycliodes) et les asservis (projecteurs \u00e0 miroirs, projecteurs sur lyre, wash ou beam)
les consoles (pupitres \u00e0 presets, console tracking)
la notion de chaine lumi\u00e8re : sch\u00e9ma et g\u00e9n\u00e9ralit\u00e9s, d\u00e9finition et principes (armoire de distribution, gradateurs, console, sources)
la d\u00e9finition et l\u2019utilisation des r\u00e9flecteurs, des filtres, des gobos<\/p>\n

L\u2019utilisation des angles <\/span>
pr\u00e9sentation des diff\u00e9rents angles : horizontal, plong\u00e9e, contre-plong\u00e9e, douche\u2026
la distinction angle et axe
la direction lumi\u00e8re, lat\u00e9raux, face, contre\u2026<\/p>\n

La couleur <\/span>
les principes de trichromie
la synth\u00e8se soustractive et additive
les rapports entre diff\u00e9rentes sources color\u00e9es et leur impact visuel, l\u2019importance de la couleur au travers des diff\u00e9rents \u00e9l\u00e9ments du spectacle (intention de mise en sc\u00e8ne \/ projet d\u2019\u00e9clairage, etc.)<\/p>\n

L\u2019implantation lumi\u00e8re <\/span>
la fiche technique
le plan de feu
le plan d\u2019implantation
le patch, synoptiques
la conduite lumi\u00e8re<\/p>\n

L\u2019histoire de la lumi\u00e8re dans le th\u00e9\u00e2tre<\/span>
notions abord\u00e9es \u00e0 travers diff\u00e9rents exemples<\/p>\n

Les ombres (effets et techniques) <\/span>
le th\u00e9\u00e2tre d\u2019ombres
l\u2019ombromanie
les ombres corporelles
les boites \u00e0 ombres<\/p>\n

Pr\u00e9sentation de dispositifs lumi\u00e8res sp\u00e9cifiques de la Compagnie DCA issus de diff\u00e9rents spectacles<\/span><\/p>\n

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Publics et pr\u00e9requis<\/span>
Il s\u2019adresse \u00e0 deux types de personnes des techniciens cr\u00e9ateurs lumi\u00e8re, \u00e9clairagistes, techniciens lumi\u00e8re… et des artistes : chor\u00e9graphes, metteurs en sc\u00e8ne , interpr\u00e8tes com\u00e9diens, danseurs, circassiens…<\/span><\/p>\n

Positionnement<\/span>
L\u2019inscription \u00e0 une formation est pr\u00e9c\u00e9d\u00e9e d\u2019\u00e9changes avec nos conseillers formation, pour garantir l\u2019ad\u00e9quation entre les attentes des b\u00e9n\u00e9ficiaires et les objectifs de la formation. En savoir plus…<\/a><\/p>\n

Parcours<\/span>
Toutes nos formations sont ind\u00e9pendantes et compl\u00e9mentaires. A partir de chaque module, nous sommes en mesure de concevoir un parcours de formation individualis\u00e9 et adapt\u00e9 au projet personnel ou professionnel de chaque participant.<\/p>\n

[\/et_pb_accordion_item][et_pb_accordion_item title=\u00a0\u00bbM\u00c9THODES ET DOCUMENTATION\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.2″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb toggle_level=\u00a0\u00bbh3″ open=\u00a0\u00bboff\u00a0\u00bb]<\/p>\n

M\u00e9thodes p\u00e9dagogiques et moyens techniques<\/span>
Toutes ces notions seront abord\u00e9es de mani\u00e8re th\u00e9orique, et exp\u00e9riment\u00e9es avec des mises en situation professionnelles. Cette formation articule des apports de connaissances \u00e0 des illustrations et exemples tir\u00e9s de la pratique professionnelle des intervenants.
Elle accorde une large place aux \u00e9changes et aux mises en perspective des situations professionnelles des participants. Il n\u2019est pas n\u00e9cessaire de pr\u00e9parer les interventions artistiques en amont, mais des propositions chor\u00e9graphiques, des textes, des partitions musicales, ou tout autre mat\u00e9riau pourraient \u00eatre les bienvenus.
Le stage se d\u00e9roule sur un plateau, avec un grill technique \u00e9quip\u00e9 en lumi\u00e8re (sources halog\u00e8nes et led, traditionnels et automatiques). Les \u00e9changes en sous-groupes sont fr\u00e9quents. Il y a peu d\u2019activit\u00e9s \u00e0 effectuer seule. Les s\u00e9ances se d\u00e9roulent sur une journ\u00e9e compl\u00e8te de 7 heures.
Chaque journ\u00e9e de stage se d\u00e9coupera en deux parties avec une partie artistique et une partie technique. La partie artistique permettra la cr\u00e9ation de modules de danse et\/ou d\u2019interpr\u00e9tation avec les participants.
La partie technique sera d\u00e9di\u00e9e \u00e0 une introduction sur un sujet concret concernant la lumi\u00e8re (directions, couleurs, ombres, etc), \u00e0 la pratique technique et aux diff\u00e9rentes possibilit\u00e9s de mise en lumi\u00e8re du module artistique pr\u00e9par\u00e9 le matin.
Chaque \u00e9tape technique sera compl\u00e9t\u00e9e par un temps de pratique permettant de faire interagir le vocabulaire chor\u00e9graphique et les dispositifs propos\u00e9s autour de diff\u00e9rentes intentions artistiques..<\/span><\/p>\n

Espace num\u00e9rique stagiaires-intervenants<\/span>
D\u00e8s leur inscription \u00e0 une session et plusieurs semaines apr\u00e8s la fin de la formation, les stagiaires b\u00e9n\u00e9ficient d\u2019un acc\u00e8s \u00e0 un espace num\u00e9rique, lieu d’\u00e9changes entre eux et le formateur ou la formatrice. Cet espace permet une relation p\u00e9dagogique dans la dur\u00e9e : avant, pour se pr\u00e9parer, pendant, pour travailler et apr\u00e8s la formation, pour \u00e9laborer, appliquer et enrichir les acquis. C\u2019est aussi un lieu d\u2019\u00e9changes entre l\u2019\u00e9quipe de l\u2019AGECIF et les stagiaires.<\/p>\n

Documentation
<\/span>Un dossier p\u00e9dagogique suivant la progression du module est communiqu\u00e9 aux stagiaires. Il est compos\u00e9 d\u2019une bibliographie, de specifications techniques et de textes r\u00e9f\u00e9rences.<\/span><\/p>\n

FEST \u2013 Former et se former en situation de travail<\/span>
A l\u2019AGECIF, nous avons une forte conscience qu\u2019une personne form\u00e9e irrigue, par ses connaissances, ses m\u00e9thodes et ses savoir-faire nouvellement acquis, une \u00e9quipe, une entreprise, voire un territoire, un pays<\/span>. Nos m\u00e9thodes p\u00e9dagogiques, orient\u00e9es sur le rapport qu\u2019entretient le participant \u00e0 l\u2019apprentissage et \u00e0 la connaissance, favorisent la transmission de pairs \u00e0 pairs \u00e0 l\u2019issue de la formation, mais aussi lui permettent de d\u00e9velopper son propre \u00ab capital cognitif \u00bb, sa capacit\u00e9 \u00e0 apprendre en permanence.<\/p>\n

Validation des acquis et \u00e9valuation<\/span>
La m\u00e9thode p\u00e9dagogique est centr\u00e9e sur des allers et retours entre contenus th\u00e9oriques et questionnements en rapport avec la situation professionnelle des stagiaires. En cons\u00e9quence, la validation par le formateur des acquis de la formation, de la compr\u00e9hension des questions abord\u00e9es et de l\u2019\u00e9volution des comp\u00e9tences se fait tout au long de l\u2019action par un syst\u00e8me de questions\/r\u00e9ponses, d\u2019exercices, de questionnaires et d\u2019\u00e9changes entre les participants et lui m\u00eame. Une attestation de suivi de formation est remise \u00e0 chaque participant \u00e0 l’issue du module. Elle pr\u00e9cise les dates de r\u00e9alisation et le volume horaire suivi.<\/p>\n

[\/et_pb_accordion_item][et_pb_accordion_item title=\u00a0\u00bbFORMATION SUR MESURE OU INDIVIDUELLE\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.2″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb toggle_level=\u00a0\u00bbh3″ open=\u00a0\u00bboff\u00a0\u00bb]<\/p>\n

A la demande d\u2019une entreprise, d\u2019un r\u00e9seau, d\u2019une collectivit\u00e9, d\u2019un ensemble de structures, cette formation peut \u00eatre r\u00e9alis\u00e9e partout en France et adapt\u00e9e \u00e0 la r\u00e9alit\u00e9 des participants, voire d’un participant, dans ses objectifs, ses contenus, sa dur\u00e9e…<\/p>\n

Un gain de temps et d’argent. En savoir plus…<\/a><\/p>\n

[\/et_pb_accordion_item][\/et_pb_accordion][et_pb_wc_upsells show_price=\u00a0\u00bboff\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb title_font_size=\u00a0\u00bb20px\u00a0\u00bb background_color=\u00a0\u00bbRGBA(255,255,255,0)\u00a0\u00bb custom_margin_tablet=\u00a0\u00bb\u00a0\u00bb custom_margin_phone=\u00a0\u00bb|-9px|||false|false\u00a0\u00bb custom_margin_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_wc_upsells][\/et_pb_column][et_pb_column type=\u00a0\u00bb2_5″ _builder_version=\u00a0\u00bb4.17.3″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb background_color=\u00a0\u00bbRGBA(255,255,255,0)\u00a0\u00bb custom_margin_tablet=\u00a0\u00bb\u00a0\u00bb custom_margin_phone=\u00a0\u00bb|-9px|||false|false\u00a0\u00bb custom_margin_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb custom_padding=\u00a0\u00bb10px|10px|10px|10px|true|true\u00a0\u00bb border_width_all=\u00a0\u00bb2px\u00a0\u00bb border_color_all=\u00a0\u00bb#d8d8d8″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

Responsables p\u00e9dagogiques<\/strong><\/span>
Philippe Decoufl\u00e9<\/a>,
Olivia Lindon<\/a> et Gr\u00e9gory Vanheulle<\/a><\/p>\n

\"\"<\/a> \"\"<\/a> \"\"<\/a><\/p>\n

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Programme au format PDF<\/span><\/span><\/a><\/p>\n

[\/et_pb_text][et_pb_text disabled_on=\u00a0\u00bboff|off|off\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.2″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_font_size=\u00a0\u00bb14px\u00a0\u00bb custom_margin=\u00a0\u00bb||||false|false\u00a0\u00bb custom_margin_tablet=\u00a0\u00bb\u00a0\u00bb custom_margin_phone=\u00a0\u00bb|-9px|||false|false\u00a0\u00bb custom_margin_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb custom_padding=\u00a0\u00bb20px||20px||true|true\u00a0\u00bb border_width_all=\u00a0\u00bb1px\u00a0\u00bb border_color_all=\u00a0\u00bb#d8d8d8″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

Nos r\u00e9f\u00e9rences et les th\u00e9matiques
des formations sur mesure. <\/strong><\/span>En savoir plus…<\/a><\/p>\n

Se faire accompagner par un sp\u00e9cialiste
\u00e0 l\u2019issue d\u2019une formation<\/strong><\/span>. En savoir plus…<\/a><\/p>\n

Nous vous aidons \u00e0 choisir les formations
<\/span><\/strong>adapt\u00e9es \u00e0 vos attente.<\/span><\/strong> Nous contacter<\/a><\/p>\n

[\/et_pb_text][et_pb_text _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_text_color=\u00a0\u00bb#000000″ text_font_size=\u00a0\u00bb20px\u00a0\u00bb background_color=\u00a0\u00bb#2271b1″ custom_margin_tablet=\u00a0\u00bb\u00a0\u00bb custom_margin_phone=\u00a0\u00bb|-9px|||false|false\u00a0\u00bb custom_margin_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb custom_padding=\u00a0\u00bb10px|10px|10px|10px|true|true\u00a0\u00bb link_option_url=\u00a0\u00bb#contact\u00a0\u00bb border_width_all=\u00a0\u00bb0px\u00a0\u00bb border_color_all=\u00a0\u00bb#d8d8d8″ border_style_all=\u00a0\u00bbnone\u00a0\u00bb border_width_left=\u00a0\u00bb5px\u00a0\u00bb border_color_left=\u00a0\u00bbgcid-e0987313-fef0-404f-bc9b-1dd2f1c9dec7″ global_colors_info=\u00a0\u00bb{%22gcid-e0987313-fef0-404f-bc9b-1dd2f1c9dec7%22:%91%22border_color_left%22%93}\u00a0\u00bb]<\/p>\n

Nous contacter par m\u00e9l<\/span><\/a><\/p>\n

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Se faire rappeler<\/span><\/p>\n

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\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ admin_label=\u00a0\u00bbPopup – #decoufle\u00a0\u00bb module_id=\u00a0\u00bbdecoufle\u00a0\u00bb module_class=\u00a0\u00bbpopup\u00a0\u00bb _builder_version=\u00a0\u00bb4.25.1″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb0px||||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb0px||||false|false\u00a0\u00bb da_is_popup=\u00a0\u00bbon\u00a0\u00bb da_popup_slug=\u00a0\u00bbdecoufle\u00a0\u00bb da_disable_devices=\u00a0\u00bboff|off|off\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb da_exit_intent=\u00a0\u00bboff\u00a0\u00bb da_has_close=\u00a0\u00bbon\u00a0\u00bb da_alt_close=\u00a0\u00bboff\u00a0\u00bb da_dark_close=\u00a0\u00bboff\u00a0\u00bb da_not_modal=\u00a0\u00bbon\u00a0\u00bb da_is_singular=\u00a0\u00bboff\u00a0\u00bb da_with_loader=\u00a0\u00bboff\u00a0\u00bb da_has_shadow=\u00a0\u00bbon\u00a0\u00bb][et_pb_row custom_padding_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb width_tablet=\u00a0\u00bb\u00a0\u00bb width_phone=\u00a0\u00bb95%\u00a0\u00bb width_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb\u00a0\u00bb custom_padding_phone=\u00a0\u00bb|10px||10px|false|true\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.21.0″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.21.0″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||10px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb13px|||||\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

Philippe Decoufl\u00e9<\/a><\/h1>\n

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\"p<\/p>\n

Danseur, chor\u00e9graphe. N\u00e9 \u00e0 Paris, le 22 octobre 1961<\/strong><\/p>\n

Apr\u00e8s s\u2019\u00eatre form\u00e9 au cirque, au mime et \u00e0 la danse contemporaine, Philippe Decoufl\u00e9<\/strong><\/span> fonde en 1983 la Compagnie DCA. Avec des influences aussi vari\u00e9es qu’Oskar Schlemmer et son\u00a0Ballet Triadique<\/em>, Tex Avery, Alwin Nikola\u00efs ou Groucho Marx, il trouve une signature hybride, entre mouvement, machinerie de th\u00e9\u00e2tre et magie du cin\u00e9ma. Il cr\u00e9\u00e9 des spectacles comme\u00a0Codex, Triton<\/em>\u00a0ou\u00a0Shazam!<\/em>\u00a0mais orchestre aussi des \u00e9v\u00e9nements populaires comme les c\u00e9r\u00e9monies des Jeux Olympiques d\u2019Albertville (1992), du 50e Festival de Cannes (1997) ou\u00a0La M\u00eal\u00e9e des mondes<\/em>\u00a0pour la Coupe du monde de rugby (2007). En 2006, il pr\u00e9sente \u00e0 La Villette\u00a0L\u2019Autre d\u00e9fil\u00e9<\/em>, d\u00e9ployant les extravagants costumes de l\u2019Op\u00e9ra de Paris et de la Com\u00e9die-Fran\u00e7aise. Apr\u00e8s\u00a0D\u00e9sirs<\/em>, relecture de la revue du Crazy Horse pr\u00e9sent\u00e9e en 2009 et toujours \u00e0 l\u2019affiche, Philippe Decoufl\u00e9<\/strong><\/span>\u00a0cr\u00e9e en 2010\u00a0Octopus<\/em>. En 2011, il r\u00e9pond \u00e0 l\u2019invitation du Cirque du Soleil en cr\u00e9ant\u00a0Iris<\/em>, spectacle permanent sur le th\u00e8me du cin\u00e9ma, au Kodak Theater de Los Angeles. Pour\u00a0Panorama<\/em>, cr\u00e9\u00e9 en 2012, il revisite l\u2019ensemble de son travail avec la Compagnie DCA de\u00a0Vague Caf\u00e9<\/em>\u00a0(1983) \u00e0\u00a0Sombrero<\/em>\u00a0(2006). La m\u00eame ann\u00e9e est cr\u00e9\u00e9 le projet\u00a0Opticon<\/em>, exposition d\u2019installations ludiques et interactives autour de l\u2019optique. En 2014, il cr\u00e9e\u00a0Contact<\/em>, une com\u00e9die musicale et visuelle pour seize danseurs, acteurs, chanteurs et musiciens. En 2015, Philippe Decoufl\u00e9<\/strong><\/span>\u00a0cr\u00e9e\u00a0Wiebo<\/em>, un concert performance en hommage \u00e0 David Bowie<\/em>, commande de la Philharmonie de Paris parall\u00e8lement \u00e0 l\u2019exposition \u00e9v\u00e9nement\u00a0Bowie is..<\/em>.<\/p>\n

En 2016, il r\u00e9pond \u00e0 une nouvelle commande du Cirque du Soleil. Il cr\u00e9e une com\u00e9die musicale pour Broadway pour 38 interpr\u00e8tes, intitul\u00e9\u00a0Paramour<\/em>\u00a0au Lyric Theater, devenant ainsi le premier metteur en sc\u00e8ne fran\u00e7ais \u00e0 pr\u00e9senter un spectacle sur la 42e rue. Apr\u00e8s un bref retour en France pour\u00a0Courtepointe<\/em>, s\u00e9rie de performances pr\u00e9sent\u00e9e au Th\u00e9\u00e2tre National de Bretagne, il part ensuite au Japon pour une nouvelle com\u00e9die musicale\u00a0Watashi wa Shingo<\/em>, adaptation du manga \u00e9ponyme. 2017 voit la cr\u00e9ation de\u00a0Nouvelles Pi\u00e8ces Courtes<\/em>. En 2019, l\u2019un des tableaux de ce spectacle est port\u00e9 \u00e0 l\u2019\u00e9cran sous le nom de\u00a0Vivaldis<\/em>, court-m\u00e9trage, film\u00e9 dans la nature. Cette m\u00eame ann\u00e9e\u00a0Tout doit dispara\u00eetre<\/em>, \u00e9v\u00e9nement r\u00e9unissant 40 artistes de la compagnie et retra\u00e7ant 35 ans de cr\u00e9ation, est pr\u00e9sent\u00e9 \u00e0 Chaillot.
La pi\u00e8ce\u00a0Shazam<\/em>\u00a0est remont\u00e9e en 2021 avec une partie des interpr\u00e8tes de la version de 1998 et d\u2019autres qui collaborent depuis plus r\u00e9cemment avec la Compagnie DCA.
En 2022, Philippe Decoufl\u00e9<\/strong><\/span>\u00a0cr\u00e9e une nouvelle pi\u00e8ce \u00e0 l\u2019\u00e9nergie rock pour 5 danseurs et 3 musiciens,\u00a0St\u00e9r\u00e9o<\/em>.<\/p>\n

\u00ab Enfant je r\u00eavais de devenir dessinateur de BD. Le dessin est souvent au d\u00e9part de mon processus de cr\u00e9ation. Je jette des id\u00e9es, croque des images qui me passent par la t\u00eate. Ma culture, c\u2019est la BD, la com\u00e9die musicale, la danse dans les bo\u00eetes de nuit, et… Oskar Schlemmer, chor\u00e9graphe du Bauhaus. La d\u00e9couverte des photos des personnages de son Ballet triadique a \u00e9t\u00e9 une r\u00e9v\u00e9lation. J\u2019avais envie, depuis longtemps, de travailler avec des formes g\u00e9om\u00e9triques simples : un cube, un triangle, cela me plaisait d\u2019observer comment ces lignes, ces volumes, se comportaient entre eux. Alwin Nikola\u00efs m\u2019a enseign\u00e9 l\u2019importance de la lumi\u00e8re et du costume, l\u2019assurance qu\u2019on pouvait tout m\u00e9langer. Techniquement c\u2019est Merce Cunningham qui m\u2019a le plus form\u00e9 \u00e0 la danse. A New-York, j\u2019ai suivi les stages de vid\u00e9o que lui-m\u00eame donnait : passionnant. J\u2019y ai appris \u00e0 ma\u00eetriser les probl\u00e8mes de distance et de g\u00e9om\u00e9trie, les r\u00e8gles \u00e9l\u00e9mentaires de l\u2019optique et du mouvement. Tex Avery m\u2019a beaucoup inspir\u00e9 dans la recherche de gestes a priori impossibles \u00e0 r\u00e9aliser… Il me reste toujours quelque chose de ce d\u00e9sir, une bizarrerie dans le mouvement, quelque chose d\u2019extr\u00eame ou de d\u00e9lirant… Je recherche une danse du d\u00e9s\u00e9quilibre, toujours \u00e0 la limite de la chute. Avec des mod\u00e8les comme les Marx Brothers par exemple, et en particulier Groucho Marx, j\u2019ai cultiv\u00e9 la prise de risque malicieuse, la r\u00e9p\u00e9tition comique de l\u2019erreur… \u00bb<\/em><\/p>\n

Prix<\/strong><\/span><\/p>\n

– Premier prix du Concours Chor\u00e9graphique de Bagnolet et prix du Minist\u00e8re de la Culture en 1983<\/strong>
– Prix du Minist\u00e8re de la Culture pour Caramba! en 1987<\/strong>
– Prix International de vid\u00e9o danse du Festival IMZ de Vienne pour Codex en 1988<\/strong>
– MTV Award et disque d\u2019or pour le clip de New Order \u00e0 Londres en 1988<\/strong>
– Lion d\u2019argent \u00e0 Cannes pour la publicit\u00e9 Polaro\u00efd en 1989<\/strong>
– Prix Danse de la SACD en 1992<\/strong>
– Citoyen d\u2019honneur de Carthag\u00e8ne (Colombie) en 1992<\/strong>
– Meilleures musiques de spectacle aux 7 d\u2019Or pour Les C\u00e9r\u00e9monies des XVI\u00e8mes Jeux Olympiques d\u2019Hiver d\u2019Albertville et de la Savoie en 1993<\/strong>
– Meilleure retransmission t\u00e9l\u00e9visuelle de spectacle aux 8\u00e8mes Victoires de la Musique pour Les C\u00e9r\u00e9monies des XVI\u00e8mes Jeux Olympiques d\u2019Hiver d\u2019Albertville et de la Savoie en 1993<\/strong>
– Chevalier de l\u2019ordre des Arts et des Lettres en 1994<\/strong>
– Meilleur film chor\u00e9graphique pour \u00abLe p\u2019tit bal\u00bb au Festival IMZ Op\u00e9ra de Lyon en 1994<\/strong>
– Mention sp\u00e9ciale pour \u00abLe p\u2019tit bal\u00bb au Festival du Film Court de Villeurbanne en 1994<\/strong>
– Prix du public pour \u00abLe p\u2019tit bal\u00bb aux Rencontres Internationales du Film de Gen\u00e8ve en 1995<\/strong>
– Grand Prix National du Minist\u00e8re de la Culture pour la Chor\u00e9graphie en 1995<\/strong>
– Commandeur des Arts et des Lettres en 2015<\/strong><\/p>\n

www.cie-dca.com<\/em><\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ admin_label=\u00a0\u00bbPopup – #vanheulle\u00a0\u00bb module_id=\u00a0\u00bbvanheulle\u00a0\u00bb module_class=\u00a0\u00bbpopup\u00a0\u00bb _builder_version=\u00a0\u00bb4.25.1″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb0px||||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb0px||||false|false\u00a0\u00bb da_is_popup=\u00a0\u00bbon\u00a0\u00bb da_popup_slug=\u00a0\u00bbvanheulle\u00a0\u00bb da_disable_devices=\u00a0\u00bboff|off|off\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb da_exit_intent=\u00a0\u00bboff\u00a0\u00bb da_has_close=\u00a0\u00bbon\u00a0\u00bb da_alt_close=\u00a0\u00bboff\u00a0\u00bb da_dark_close=\u00a0\u00bboff\u00a0\u00bb da_not_modal=\u00a0\u00bbon\u00a0\u00bb da_is_singular=\u00a0\u00bboff\u00a0\u00bb da_with_loader=\u00a0\u00bboff\u00a0\u00bb da_has_shadow=\u00a0\u00bbon\u00a0\u00bb][et_pb_row custom_padding_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb _builder_version=\u00a0\u00bb4.27.4″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb width_tablet=\u00a0\u00bb\u00a0\u00bb width_phone=\u00a0\u00bb95%\u00a0\u00bb width_last_edited=\u00a0\u00bbon|phone\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb\u00a0\u00bb custom_padding_phone=\u00a0\u00bb|10px||10px|false|true\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.21.0″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.21.0″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_margin=\u00a0\u00bb||10px||false|false\u00a0\u00bb custom_padding=\u00a0\u00bb13px|||||\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

Gr\u00e9gory Vanheulle<\/h1>\n

<\/a><\/h1>\n

[\/et_pb_text][et_pb_text _builder_version=\u00a0\u00bb4.25.1″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

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Gr\u00e9gory Vanheulle<\/strong><\/span> est r\u00e9gisseur lumi\u00e8re et \u00e9clairagiste depuis presque 20 ans. D’abord r\u00e9gisseur lumi\u00e8re d’accueil \u00e0 la <\/span>MCA – Maison de la culture d’Amiens<\/em> \u00e0 partir de 2006, il part en tourn\u00e9e avec plusieurs spectacles produits par celle-ci entre 2009 et 2015. <\/span>Gr\u00e9gory Vanheulle<\/strong><\/span> rejoint l\u2019univers des compagnies en 2013 aupr\u00e8s du <\/span>Th\u00e9\u00e2tre Irruptionnel<\/em>. Gr\u00e9gory rejoint la <\/span>Compagnie DCA<\/em> en 2022 en tant que r\u00e9gisseur lumi\u00e8re sur la tourn\u00e9e de\u00a0<\/span>St\u00e9r\u00e9o<\/em>. En parall\u00e8le, il intervient sur d\u2019autres projets de <\/span>Philippe Decoufl\u00e9<\/em> et de la Compagnie tels que\u00a0<\/span>M\u00e9moire de forme, Shazam\u00a0<\/em>ou encore\u00a0<\/span>Herm\u00e8s Parade<\/em>.<\/span><\/p>\n

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Olivia Lindon<\/h1>\n

<\/a><\/h1>\n

[\/et_pb_text][et_pb_text _builder_version=\u00a0\u00bb4.25.1″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

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Form\u00e9e \u00e0 la danse contemporaine et classique au CRR<\/em> de Paris, L\u2019enseignement de Wilfride Piollet<\/em> et les Summer Intensives de la School of American Ballet<\/em> \u00e0 New York sont d\u00e9terminants dans sa formation qu\u2019Olivia Lindon <\/strong><\/span>poursuit \u00e0 l\u2019English National Ballet School<\/em> \u00e0 Londres.<\/span><\/p>\n

En 2015, elle int\u00e8gre le Ballet du Capitole<\/em>, o\u00f9 elle interpr\u00e8te les grands ballets classiques et ainsi que les cr\u00e9ations et pi\u00e8ces contemporaines de Hillel Kogan, Maguy Marin, Angel Rodrigues, Jacopo Godani<\/em> et Mauro Bigonzetti<\/em>, jusqu\u2019en 2019. Elle se forme au chant lyrique.<\/span><\/p>\n

A l\u2019aube du confinement, Olivia Lindon<\/strong><\/span> revient \u00e0 Paris pour participer \u00e0 des projets artistiques pluridisciplinaires. Passionn\u00e9e de cin\u00e9ma, elle chor\u00e9graphie et interpr\u00e8te un \u00ab\u00a0Journal de Confinement\u00a0\u00bb<\/em> qu\u2019elle r\u00e9alise avec Pierre de Cintaz<\/em>, 56 videos en 56 jours en lien avec la musique et la danse au cin\u00e9ma.<\/span><\/p>\n

Elle se forme au th\u00e9\u00e2tre au cours Eva Saint-Paul<\/em> et joue dans la s\u00e9rie \u00ab\u00a0L\u2019Op\u00e9ra\u00a0\u00bb.<\/em><\/span><\/p>\n

Olivia Lindon<\/strong><\/span> chor\u00e9graphie des clips pour Tim Dup<\/em> et Louise Thiolon<\/em>. Elle assiste le chor\u00e9graphe Maxime Thomas<\/em>pour Rigoletto<\/em> mis en sc\u00e8ne par Richard Brunel<\/em> et Lancelot<\/em> mis en sc\u00e8ne par Jean Romain Vesperini<\/em>.<\/span><\/p>\n

Depuis 2019, Olivia Lindon<\/strong><\/span> fait partie de l\u2019\u00e9quipe de Karl Paquette<\/em> pour les spectacles jeune public \u00ab\u00a0Mon premier Lac des Cygnes\u00a0\u00bb<\/em> et \u00ab\u00a0Il \u00e9tait une fois Casse-Noisette\u00a0\u00bb<\/em>. Olivia Lindon<\/strong><\/span>\u00a0a rejoint la Compagnie DCA<\/em>.<\/span><\/p>\n<\/div>\n<\/div>\n

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Contacter l\u2019AGECIF<\/h1>\n<\/div>\n<\/div>\n
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L\u2019AGECIF est situ\u00e9e au 22 rue de Picardie \u00e0 Paris.
M\u00e9l\u00a0 accueil@agecif.com<\/a> ou formation@agecif.com<\/a><\/p>\n

Si vous souhaitez qu’on vous rappelle, merci de bien indiquer vos coordonn\u00e9es et \u00e9ventuellement vos disponibilit\u00e9s.<\/p>\n<\/div>\n<\/div>\n

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\n
\n

Se faire rappeler<\/h1>\n<\/div>\n<\/div>\n
\n
\n

L\u2019AGECIF est situ\u00e9e au 22 rue de Picardie \u00e0 Paris.
M\u00e9l\u00a0 accueil@agecif.com<\/a> ou formation@agecif.com<\/a><\/p>\n

Si vous souhaitez qu’on vous rappelle, merci de bien indiquer vos coordonn\u00e9es et \u00e9ventuellement vos disponibilit\u00e9s.<\/p>\n<\/div>\n<\/div>\n

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