CELLODANCE / DANSE POUR VIOLONCELLE
dancer/choreographer: Clara Gibson MAXWELL
How does art make invisible things visible to us? What do we as spectators learn from the experience of watching a performance? Can it deepen an experience of dance and music to talk about it? This Cafe de Flore recital and our collective discussion explore these questions.
West Virginian choreographer Clara Gibson Maxwell has lived and danced in Paris for sixteen years. The Maison des Cultures du Monde commissioned her solo Corps-Éros for the first Festival de l’Imaginaire. For their conference entitled "The Body and Art in the Twentieth Century," the Dominicans at La Tourette monastery invited her to dance in the chapel of their Le Corbusier masterpiece. Théâtre du Renard in Paris opened its doors to her dance, Corpsensus, highlighting its Art Deco monument. Taliesin West welcomed her company in residence at the Frank Lloyd Wright School of Architecture. She premiered there The Banquet. The Banquet is ancient Greek symposium revisited as performance art. Philosophy is always an essential element in her work.
Romain Garioud‘s gift as a concert soloist has been featured in orchestral performances of Dutilleux, Lalo, but especially Haydn. As winner of the Brizard Foundation prize, he played Haydn’s Second Concerto his first year at the Paris Conservatory. He has performed with the Orchestre National de Bordeaux, Radio Philharmonique, and the Paris Opéra. His other love, chamber music, won him yet another first prize among numerous other academic distinctions at the Paris Conservatory. His concert engagements, including extensive touring throughout France, extend to Israel, Germany, Italy, and Greece. He began playing cello at age five.
Clara Gibson Maxwell et Romain Garioud travaillent ensemble dans le cadre de l’association Mon Oncle D’Amérique Productions. Leur projet au Café de Flore s’interroge sur le rapport entre l’interprète et le spectateur. Récemment Mon Oncle D’Amérique a été invité de la part de la Fondation Frank Lloyd Wright à créer The Banquet, symposium athénien renaît comme performance art. La philosophie reste une clé de sa recherche chorégraphique.