{"id":187,"date":"2022-07-22T16:11:02","date_gmt":"2022-07-16T20:14:41","guid":{"rendered":"http:\/\/pavillon-s.com\/la-foret-de-glace-2\/"},"modified":"2023-05-09T11:34:56","modified_gmt":"2023-05-09T09:34:56","slug":"tombouctou-deja-vu","status":"publish","type":"post","link":"http:\/\/pavillon-s.com\/en\/tombouctou-deja-vu\/","title":{"rendered":"Tombouctou d\u00e9j\u00e0-vu"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":201,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[3],"tags":[],"class_list":["post-187","post","type-post","status-publish","has-post-thumbnail","hentry","category-spectacles"],"grid":"{\r\n  \"colCount\": 12,\r\n  \"colGutter\": 1,\r\n  \"rowGutters\": [\r\n    2.5,\r\n    1,\r\n    2,\r\n    2,\r\n    2,\r\n    2,\r\n    2,\r\n    2\r\n  ],\r\n  \"frameMargin\": 5,\r\n  \"leftFrameMargin\": 2.5,\r\n  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Prise au pi\u00e8ge d'une\u00a0narration qui d\u00e9file en boucle, elle fait vaciller chaque situation, sachant que la r\u00e9p\u00e9tition n'interdit\u00a0ni le d\u00e9placement ni la transformation. Sur le plateau, des cartes \u00e0 tirer : les strat\u00e9gies obliques du\u00a0musicien-producteur Brian Eno et du peintre Peter Schmidt, consignes \u00e0 ex\u00e9cuter, \u00e0 transgresser, \u00e0\u00a0empiler. Leur accumulation cr\u00e9e un terreau sur lequel le groupe joue et tr\u00e9buche, curieux d'exp\u00e9rimenter\u00a0des \u00e9tats, des \u00e9motions, des intentions. Enfants farceurs parfois pervers, personnages romantiques\u00a0qui basculent dans la m\u00e9lancolie... Tout se fabrique sous nos yeux, entre extr\u00eame pr\u00e9cision et fragilit\u00e9\u00a0port\u00e9es par des boucles sonores enregistr\u00e9es et r\u00e9invent\u00e9es par les danseurs. Dans ce processus\u00a0invariablement circulaire surgissent des br\u00e8ches, comme des poches de libert\u00e9 que chacun investit pour\u00a0\u00e9chapper au destin, au sens commun.\u00a0Car \u00e0 travers cette tentative d'affranchissement dans la r\u00e9p\u00e9tition,\u00a0c'est de cr\u00e9ation artistique qu'il s'agit, \u00e0 l'image de Tombouctou, nom connu de tous, mais totalement\u00a0fantasm\u00e9, interpr\u00e9t\u00e9 et sublim\u00e9.<br \/>\u2014 Renan Benyamina pour le Festival d\u2019Avignon<br \/>\u00a0<\/p><p class=\\\"_texte_page\\\">J\u2019ai longtemps pens\u00e9 dans mon enfance que Tombouctou n\u2019existait pas, et l\u2019expression \u00ab\u00a0aller \u00e0 Tombouctou\u00a0\u00bb rev\u00eatait pour moi, sans doute comme pour chacun, l\u2019id\u00e9e de partir dans un endroit inconnu... J\u2019aime l\u2019id\u00e9e d\u2019\u00e9voquer par correspondance un lieu fantasm\u00e9, un espace o\u00f9 tout est possible. Le d\u00e9j\u00e0-vu est un ph\u00e9nom\u00e8ne banal et cependant complexe\u00a0: \u00ab\u00a0cette exp\u00e9rience famili\u00e8re consiste dans l\u2019intime conviction qu\u2019une perception pr\u00e9sente \u00e9veille le souvenir d\u2019un pass\u00e9 impossible \u00e0 identifier clairement. Il na\u00eet alors une impression d\u2019\u00e9tranget\u00e9 o\u00f9 les rep\u00e8res temporels habituels sont abolis et o\u00f9 se d\u00e9ploie librement le fantasme d\u2019une autre vie.\u00a0\u00bb<br \/>\u00a0<br \/><span style=\\\"color: #1500f6;\\\">Tombouctou d\u00e9j\u00e0-vu<\/span>, met en sc\u00e8ne sept personnages qui forment une petite communaut\u00e9, symbolisant une \u00ab\u00a0\u00e9trange petite r\u00e9publique, si logique et si grave, si positive, si minutieuse, si \u00e9conome et cependant victime d\u2019un r\u00eave si vaste et si pr\u00e9caire\u00a0\u00bb (Maurice Maeterlinck, La vie des abeilles).<br \/>Fantasque, fantasm\u00e9e, archa\u00efque, cette communaut\u00e9 rassemble plusieurs individus dont les liens se r\u00e9inventent par l\u2019interm\u00e9diaire de consignes emprunt\u00e9es aux strat\u00e9gies obliques de Brian Eno, lues \u00e0 haute voix et \u00e0 tour de r\u00f4le par chacun d\u2019entre eux.<br \/>Construite sur un mode cyclique, la pi\u00e8ce ouvre sur une sc\u00e8ne inaugurale (un \u201cpaysage chor\u00e9graphique blanc\u201c) qui va se r\u00e9p\u00e9ter et \u00e0 partir de laquelle diff\u00e9rentes r\u00e9solutions chor\u00e9graphiques et vocales sont propos\u00e9es.<br \/>\u00c0 travers cet \u00e9ternel recommencement, se lit en creux tout ce qui construit l\u2019individu dans sa relation \u00e0 l\u2019autre, aussi bien dans la qu\u00eate id\u00e9ale d\u2019une fusion fraternelle et\/ou amoureuse que dans des relations sociales o\u00f9 se joue l\u2019exercice du pouvoir et de la domination.<br \/>\u00c0 plusieurs reprises, des \u00e9chappatoires apparaissent, et ouvrent un espace de libert\u00e9 qui s\u2019apparente \u00e0 une d\u00e9compensation psychique o\u00f9 se coto\u00eeent le r\u00eave, la solitude et le sentiment de d\u00e9personnalisation.<br \/>Quelques fragments du roman initiatique Les grands bois de l\u2019\u00e9crivain autrichien Adalbert Stifter, ponctuent ces tr\u00eaves en d\u00e9crivant un paysage sensoriel o\u00f9 la description de grands espaces prennent des allures de contes (\u201cIl y a un endroit dans le fond des bois - je le connais depuis longtemps,...\u201c). <br \/>\u2014 Emmanuelle Vo-Dinh<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 4,\r\n      \"col\": 0,\r\n      \"colspan\": 8,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 6\r\n    },\r\n    {\r\n      \"type\": \"video\",\r\n      \"cont\": \"https:\/\/i.vimeocdn.com\/video\/511674712-b1807b602ab2fe442ccf50c886a250dc926e9cf8d7e7cf5d5e954c93f8a00a9f-d_640\",\r\n      \"align\": \"top\",\r\n      \"row\": 5,\r\n      \"col\": 0,\r\n      \"colspan\": 8,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 10,\r\n      \"iframe\": \"<iframe src=\\\"\/\/player.vimeo.com\/video\/122626348?api=1&title=0&amp;byline=0&amp;portrait=0&amp;color=ffffff\\\" width=\\\"640\\\" height=\\\"360\\\" frameborder=\\\"0\\\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe>\",\r\n      \"url\": \"https:\/\/vimeo.com\/122626348\",\r\n      \"w\": 640,\r\n      \"h\": 360,\r\n      \"ar\": 0.5625,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_texte_page\\\"><span style=\\\"color: #1500f6;\\\">Presse<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 6,\r\n      \"col\": 0,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 11\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_texte_page\\\"><span style=\\\"color: #1500f6;\\\">Tombouctou d\u00e9j\u00e0-vu<\/span><br \/><span style=\\\"color: #1500f6;\\\">Conception et sc\u00e9nographie<\/span> Emmanuelle Vo-Dinh<br \/><span style=\\\"color: #1500f6;\\\">Interpr\u00e9tation<\/span> Gilles Baron, Alexia Bigot, Maeva Cunci, Cyril Geeroms, Camille Kerdellant, Nadir Louatib, David Monceau<br \/><span style=\\\"color: #1500f6;\\\">Regard dramaturgique<\/span> St\u00e9phane Laudier<br \/><span style=\\\"color: #1500f6;\\\">Musique originale<\/span> David Monceau, Emmanuelle Vo-Dinh<br \/><span style=\\\"color: #1500f6;\\\">Musiques additionnelles<\/span> Richard Wagner, David Bowie<br \/><span style=\\\"color: #1500f6;\\\">Extraits litt\u00e9raires<\/span> Les grands bois de Adalbert Stifter, traduction de Henri Thomas, \u00e9dition Gallimard<br \/><span style=\\\"color: #1500f6;\\\">Cr\u00e9ation lumi\u00e8re<\/span> Fran\u00e7oise Michel<br \/><span style=\\\"color: #1500f6;\\\">Diffusion sonore<\/span> Hubert Michel<br \/><span style=\\\"color: #1500f6;\\\">Pr\u00e9paration vocale<\/span> Jean-Baptiste Veyret-Log\u00e9rias<br \/><span style=\\\"color: #1500f6;\\\">Pr\u00e9paration physique<\/span> Sarah Degraeve<br \/><span style=\\\"color: #1500f6;\\\">Construction sc\u00e9nographie<\/span> Christophe Gadonna<br \/><span style=\\\"color: #1500f6;\\\">Costumes<\/span> Salina Dumay<br \/><span style=\\\"color: #1500f6;\\\">Dur\u00e9e<\/span> 1h35<br \/>\u00a0<br \/><span style=\\\"color: #1500f6;\\\">Production et diffusion<\/span> PAVILLON-S, Emmanuelle Vo-Dinh<br \/>Une production du Phare, Centre chor\u00e9graphique national du Havre Normandie (2015)<br \/><span style=\\\"color: #1500f6;\\\">Coproductions<\/span>\u00a0Le Volcan, Sc\u00e8ne nationale du Havre \/ Baryshnikov Arts Center, New York \/ Dieppe Sc\u00e8ne Nationale <br \/><span style=\\\"color: #1500f6;\\\">Avec le soutien<\/span> du Lower Manhattan Cultural Council et de l\u2019Institut Fran\u00e7ais pour la r\u00e9sidence au Baryshnikov Arts Center et au Lower Manhattan Cultural Council (New York).<br \/><span style=\\\"color: #1500f6;\\\">Remerciements<\/span> \u00e0 Mikhail Baryshnikov, Sam Miller, Jean-Fran\u00e7ois Driant, Philippe Cogney et l'\u00e9quipe de Dieppe Sc\u00e8ne Nationale, Sabine Macher, Julie Perrin, Nicolas Simon.<\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 7,\r\n      \"col\": 0,\r\n      \"colspan\": 8,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 7\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_texte_page\\\">Calendrier de tourn\u00e9e <br \/>4\u00a0 juillet 2015 - <span style=\\\"color: #1500f6;\\\">Th\u00e9\u00e2tre Beno\u00eet XII, 69\u00e8me \u00e9dition du Festival d\u2019Avignon<\/span><br \/>5\u00a0 juillet 2015 - <span style=\\\"color: #1500f6;\\\">Th\u00e9\u00e2tre Beno\u00eet XII, 69\u00e8me \u00e9dition du Festival d\u2019Avignon<\/span><br \/>6\u00a0 juillet 2015 - <span style=\\\"color: #1500f6;\\\">Th\u00e9\u00e2tre Beno\u00eet XII, 69\u00e8me \u00e9dition du Festival d\u2019Avignon<\/span><br \/>7\u00a0 juillet 2015 - <span style=\\\"color: #1500f6;\\\">Th\u00e9\u00e2tre Beno\u00eet XII, 69\u00e8me \u00e9dition du Festival d\u2019Avignon<\/span><br \/>8\u00a0 juillet 2015 - <span style=\\\"color: #1500f6;\\\">Th\u00e9\u00e2tre Beno\u00eet XII, 69\u00e8me \u00e9dition du Festival d\u2019Avignon<\/span><br \/>3 novembre 2015 - <span style=\\\"color: #1500f6;\\\">Le Volcan, Sc\u00e8ne nationale du Havre<\/span><br \/>6 novembre 2015 - <span style=\\\"color: #1500f6;\\\">Le Rive Gauche, Saint-\u00c9tienne-du-Rouvray<\/span><br \/>24 novembre 2015 - <span style=\\\"color: #1500f6;\\\">Dieppe Sc\u00e8ne Nationale<\/span><br \/>26 janvier 2016 - <span style=\\\"color: #1500f6;\\\">Le Th\u00e9\u00e2tre, Sc\u00e8ne nationale de Ma\u00e7on Val-de-Sa\u00f4ne \/ Festival Art Danse Bourgogne<\/span><br \/>3 mars 2016 - <span style=\\\"color: #1500f6;\\\">Le 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Prise au pi\u00e8ge d'une\u00a0narration qui d\u00e9file en boucle, elle fait vaciller chaque situation, sachant que la r\u00e9p\u00e9tition n'interdit\u00a0ni le d\u00e9placement ni la transformation. Sur le plateau, des cartes \u00e0 tirer : les strat\u00e9gies obliques du\u00a0musicien-producteur Brian Eno et du peintre Peter Schmidt, consignes \u00e0 ex\u00e9cuter, \u00e0 transgresser, \u00e0\u00a0empiler. Leur accumulation cr\u00e9e un terreau sur lequel le groupe joue et tr\u00e9buche, curieux d'exp\u00e9rimenter\u00a0des \u00e9tats, des \u00e9motions, des intentions. Enfants farceurs parfois pervers, personnages romantiques\u00a0qui basculent dans la m\u00e9lancolie... Tout se fabrique sous nos yeux, entre extr\u00eame pr\u00e9cision et fragilit\u00e9\u00a0port\u00e9es par des boucles sonores enregistr\u00e9es et r\u00e9invent\u00e9es par les danseurs. Dans ce processus\u00a0invariablement circulaire surgissent des br\u00e8ches, comme des poches de libert\u00e9 que chacun investit pour\u00a0\u00e9chapper au destin, au sens commun.\u00a0Car \u00e0 travers cette tentative d'affranchissement dans la r\u00e9p\u00e9tition,\u00a0c'est de cr\u00e9ation artistique qu'il s'agit, \u00e0 l'image de Tombouctou, nom connu de tous, mais totalement\u00a0fantasm\u00e9, interpr\u00e9t\u00e9 et sublim\u00e9.<br \/>\u2014 Renan Benyamina pour le Festival d\u2019Avignon<br \/>\u00a0<\/p><p class=\\\"_texte_page\\\">J\u2019ai longtemps pens\u00e9 dans mon enfance que Tombouctou n\u2019existait pas, et l\u2019expression \u00ab\u00a0aller \u00e0 Tombouctou\u00a0\u00bb rev\u00eatait pour moi, sans doute comme pour chacun, l\u2019id\u00e9e de partir dans un endroit inconnu... J\u2019aime l\u2019id\u00e9e d\u2019\u00e9voquer par correspondance un lieu fantasm\u00e9, un espace o\u00f9 tout est possible. Le d\u00e9j\u00e0-vu est un ph\u00e9nom\u00e8ne banal et cependant complexe\u00a0: \u00ab\u00a0cette exp\u00e9rience famili\u00e8re consiste dans l\u2019intime conviction qu\u2019une perception pr\u00e9sente \u00e9veille le souvenir d\u2019un pass\u00e9 impossible \u00e0 identifier clairement. Il na\u00eet alors une impression d\u2019\u00e9tranget\u00e9 o\u00f9 les rep\u00e8res temporels habituels sont abolis et o\u00f9 se d\u00e9ploie librement le fantasme d\u2019une autre vie.\u00a0\u00bb<br \/>\u00a0<br \/><span style=\\\"color: #1500f6;\\\">Tombouctou d\u00e9j\u00e0-vu<\/span>, met en sc\u00e8ne sept personnages qui forment une petite communaut\u00e9, symbolisant une \u00ab\u00a0\u00e9trange petite r\u00e9publique, si logique et si grave, si positive, si minutieuse, si \u00e9conome et cependant victime d\u2019un r\u00eave si vaste et si pr\u00e9caire\u00a0\u00bb (Maurice Maeterlinck, La vie des abeilles).<br \/>Fantasque, fantasm\u00e9e, archa\u00efque, cette communaut\u00e9 rassemble plusieurs individus dont les liens se r\u00e9inventent par l\u2019interm\u00e9diaire de consignes emprunt\u00e9es aux strat\u00e9gies obliques de Brian Eno, lues \u00e0 haute voix et \u00e0 tour de r\u00f4le par chacun d\u2019entre eux.<br \/>Construite sur un mode cyclique, la pi\u00e8ce ouvre sur une sc\u00e8ne inaugurale (un \u201cpaysage chor\u00e9graphique blanc\u201c) qui va se r\u00e9p\u00e9ter et \u00e0 partir de laquelle diff\u00e9rentes r\u00e9solutions chor\u00e9graphiques et vocales sont propos\u00e9es.<br \/>\u00c0 travers cet \u00e9ternel recommencement, se lit en creux tout ce qui construit l\u2019individu dans sa relation \u00e0 l\u2019autre, aussi bien dans la qu\u00eate id\u00e9ale d\u2019une fusion fraternelle et\/ou amoureuse que dans des relations sociales o\u00f9 se joue l\u2019exercice du pouvoir et de la domination.<br \/>\u00c0 plusieurs reprises, des \u00e9chappatoires apparaissent, et ouvrent un espace de libert\u00e9 qui s\u2019apparente \u00e0 une d\u00e9compensation psychique o\u00f9 se coto\u00eeent le r\u00eave, la solitude et le sentiment de d\u00e9personnalisation.<br \/>Quelques fragments du roman initiatique Les grands bois de l\u2019\u00e9crivain autrichien Adalbert Stifter, ponctuent ces tr\u00eaves en d\u00e9crivant un paysage sensoriel o\u00f9 la description de grands espaces prennent des allures de contes (\u201cIl y a un endroit dans le fond des bois - je le connais depuis longtemps,...\u201c). <br \/>\u2014 Emmanuelle Vo-Dinh<\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 4,\r\n      \"col\": 0,\r\n      \"colspan\": 12,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 6\r\n    },\r\n    {\r\n      \"type\": \"video\",\r\n      \"cont\": \"https:\/\/i.vimeocdn.com\/video\/511674712-b1807b602ab2fe442ccf50c886a250dc926e9cf8d7e7cf5d5e954c93f8a00a9f-d_640\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 5,\r\n      \"col\": 0,\r\n      \"colspan\": 12,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 10,\r\n      \"iframe\": \"<iframe src=\\\"\/\/player.vimeo.com\/video\/122626348?api=1&title=0&amp;byline=0&amp;portrait=0&amp;color=ffffff\\\" width=\\\"640\\\" height=\\\"360\\\" frameborder=\\\"0\\\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe>\",\r\n      \"url\": \"https:\/\/vimeo.com\/122626348\",\r\n      \"w\": 640,\r\n      \"h\": 360,\r\n      \"ar\": 0.5625,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_texte_page\\\"><span style=\\\"color: #1500f6;\\\">Presse<\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 6,\r\n      \"col\": 0,\r\n      \"colspan\": 12,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 11\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_texte_page\\\"><span style=\\\"color: #1500f6;\\\">Tombouctou d\u00e9j\u00e0-vu<\/span><br \/><span style=\\\"color: #1500f6;\\\">Conception et sc\u00e9nographie<\/span> Emmanuelle Vo-Dinh<br \/><span style=\\\"color: #1500f6;\\\">Interpr\u00e9tation<\/span> Gilles Baron, Alexia Bigot, Maeva Cunci, Cyril Geeroms, Camille Kerdellant, Nadir Louatib, David Monceau<br \/><span style=\\\"color: #1500f6;\\\">Regard dramaturgique<\/span> St\u00e9phane Laudier<br \/><span style=\\\"color: #1500f6;\\\">Musique originale<\/span> David Monceau, Emmanuelle Vo-Dinh<br \/><span style=\\\"color: #1500f6;\\\">Musiques additionnelles<\/span> Richard Wagner, David Bowie<br \/><span style=\\\"color: #1500f6;\\\">Extraits litt\u00e9raires<\/span> Les grands bois de Adalbert Stifter, traduction de Henri Thomas, \u00e9dition Gallimard<br \/><span style=\\\"color: #1500f6;\\\">Cr\u00e9ation lumi\u00e8re<\/span> Fran\u00e7oise Michel<br \/><span style=\\\"color: #1500f6;\\\">Diffusion sonore<\/span> Hubert Michel<br \/><span style=\\\"color: #1500f6;\\\">Pr\u00e9paration vocale<\/span> Jean-Baptiste Veyret-Log\u00e9rias<br \/><span style=\\\"color: #1500f6;\\\">Pr\u00e9paration physique<\/span> Sarah Degraeve<br \/><span style=\\\"color: #1500f6;\\\">Construction sc\u00e9nographie<\/span> Christophe Gadonna<br \/><span style=\\\"color: #1500f6;\\\">Costumes<\/span> Salina Dumay<br \/><span style=\\\"color: #1500f6;\\\">Dur\u00e9e<\/span> 1h35<br \/>\u00a0<br \/><span style=\\\"color: #1500f6;\\\">Production et diffusion<\/span> PAVILLON-S, Emmanuelle Vo-Dinh<br \/>Une production du Phare, Centre chor\u00e9graphique national du Havre Normandie (2015)<br \/><span style=\\\"color: #1500f6;\\\">Coproductions<\/span>\u00a0Le Volcan, Sc\u00e8ne nationale du Havre \/ Baryshnikov Arts Center, New York \/ Dieppe Sc\u00e8ne Nationale <br \/><span style=\\\"color: #1500f6;\\\">Avec le soutien<\/span> du Lower Manhattan Cultural Council et de l\u2019Institut Fran\u00e7ais pour la r\u00e9sidence au Baryshnikov Arts Center et au Lower Manhattan Cultural Council (New York).<br \/><span style=\\\"color: #1500f6;\\\">Remerciements<\/span> \u00e0 Mikhail Baryshnikov, Sam Miller, Jean-Fran\u00e7ois Driant, Philippe Cogney et l'\u00e9quipe de Dieppe Sc\u00e8ne Nationale, Sabine Macher, Julie Perrin, Nicolas Simon.<\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 7,\r\n      \"col\": 0,\r\n      \"colspan\": 12,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 7\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p class=\\\"_texte_page\\\">Calendrier de tourn\u00e9e <br \/>4\u00a0 juillet 2015 - <span style=\\\"color: #1500f6;\\\">Th\u00e9\u00e2tre Beno\u00eet XII, 69\u00e8me \u00e9dition du Festival d\u2019Avignon<\/span><br \/>5\u00a0 juillet 2015 - <span style=\\\"color: #1500f6;\\\">Th\u00e9\u00e2tre Beno\u00eet XII, 69\u00e8me \u00e9dition du Festival d\u2019Avignon<\/span><br \/>6\u00a0 juillet 2015 - <span style=\\\"color: #1500f6;\\\">Th\u00e9\u00e2tre Beno\u00eet XII, 69\u00e8me \u00e9dition du Festival d\u2019Avignon<\/span><br \/>7\u00a0 juillet 2015 - <span style=\\\"color: #1500f6;\\\">Th\u00e9\u00e2tre Beno\u00eet XII, 69\u00e8me \u00e9dition du Festival d\u2019Avignon<\/span><br \/>8\u00a0 juillet 2015 - <span style=\\\"color: #1500f6;\\\">Th\u00e9\u00e2tre Beno\u00eet XII, 69\u00e8me \u00e9dition du Festival d\u2019Avignon<\/span><br \/>3 novembre 2015 - <span style=\\\"color: #1500f6;\\\">Le Volcan, Sc\u00e8ne nationale du Havre<\/span><br \/>6 novembre 2015 - <span style=\\\"color: #1500f6;\\\">Le Rive Gauche, Saint-\u00c9tienne-du-Rouvray<\/span><br \/>24 novembre 2015 - <span style=\\\"color: #1500f6;\\\">Dieppe Sc\u00e8ne Nationale<\/span><br \/>26 janvier 2016 - <span style=\\\"color: #1500f6;\\\">Le Th\u00e9\u00e2tre, Sc\u00e8ne nationale de Ma\u00e7on Val-de-Sa\u00f4ne \/ Festival Art Danse Bourgogne<\/span><br \/>3 mars 2016 - <span style=\\\"color: #1500f6;\\\">Le Quartz, Brest \/ Festival Da\u00f1sFabrik<\/span><br \/>22 mars 2016 - <span style=\\\"color: #1500f6;\\\">L\u2019Arsenal,Val-de-Reuil \/ Sc\u00e8ne Nationale Evreux Louviers<\/span> <br \/>30 janvier 2018 - <span style=\\\"color: #1500f6;\\\">Le Phare, CCN du Havre Normandie \/ Festival Pharenheit<\/span><br \/>31 janvier 2018 - <span style=\\\"color: #1500f6;\\\">Le Phare, CCN du Havre Normandie \/ Festival Pharenheit<\/span><br \/>9 f\u00e9vrier 2018 - <span style=\\\"color: #1500f6;\\\">Th\u00e9\u00e2tre Paul Eluard, Sc\u00e8ne conventionn\u00e9e danse de Bezons<\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 8,\r\n      \"col\": 0,\r\n      \"colspan\": 12,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 8\r\n    }\r\n  ]\r\n}","_links":{"self":[{"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/posts\/187","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/comments?post=187"}],"version-history":[{"count":0,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/posts\/187\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/media\/201"}],"wp:attachment":[{"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/media?parent=187"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/categories?post=187"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/tags?post=187"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}