\u00a9Olivier Bonnet<\/p>\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"
The choreographer Emmanuelle Vo-Dinh<\/span> explains how her creative choreographic process comes from specific detailed research and structures, which are reset for each new piece. The clear lines underlying all her work are nonetheless visible. \u00a9Olivier Bonnet<\/p>\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" The choreographer Emmanuelle Vo-Dinh<\/span> explains how her creative choreographic process comes from specific detailed research and structures, which are reset for each new piece. The clear lines underlying all her work are nonetheless visible.
Research by the neurologist Antonio Damasio, about the importance of emotion \u2013 inspired her iconic early works Texture\/solo and Texture\/Composite. Sagen delves into the \u201canti\u201d-psychiatry of Jean Oury, which deals with schizophrenia. Theses by Fran\u00e7oise H\u00e9ritier on the masculine\/ feminine inspired -transire- and -insight- (2010, 2013). The complex density of these themes facilitate and sharpen the exploration of the dancers\u2019 bodies.
Emmanuelle Vo-Dinh is also interested in repetitive minimalism, notably in CROIS\u00e9ES, White light, Ici\/Per.For<\/em> \u2013 2005, 2006, exploring play in Aboli Bibelot\u2026 Rebondi<\/em> (2008), and exploring it further in Sprint (2013). She chose to create with important musical works by Zeena Parkins, Dusapin, Grisey; and also explores the visual arts.
Director of Le Phare, Centre chor\u00e9graphique of Le Havre, Normandie from 2012 to 2021, her works are somewhat more theatrical: Tombouctou d\u00e9j\u00e0-vu<\/em> (Avignon, 2015), Belles et bois<\/em> (2016), Simon Says<\/em> (2017), Cocagne<\/em> (2018), La for\u00eat de glace<\/em> (2020), Attractions<\/em> (2021). Her exhaustive movement vocabulary is constantly challenging established ideas about meanings and senses.
In 2022, she is continuing her research into cinema with ARCANES paysage<\/em>, a series of performances that combine landscape and setting (Le Moulin d'And\u00e9 on the banks of the Seine, Mont Saint-Michel, \u00c9tretat, etc.) resonating in dialogue with the work of Abbas Kiarostami (24 frames) and based on exchanges with Palestinian filmmaker Elia Suleiman on the process of writing (It must be heaven). She made her first two short films, Mirari and Everso<\/em>, in 2023, continuing this research, and at the same time created the trio MIRARI<\/em>, a stage play, reinventing other landscapes in four different rituals She also directed (autumn 2025) the music video for the song Fantaisie<\/em> by Camille Bazbaz and Crazy PP. She is currently continuing this cycle of writing around the frame through the work of Yasujir\u00f4 Ozu. The Japanese filmmaker opens up a rich and complex field for her in a \u2018method\u2019 that singularly articulates staging, framing, choreography, and scenography to achieve a cinema that aims for purity. The subject of her research will give rise to the production of a new short film, ARCANES paysage<\/em>, in 2026, an eponymous performance, and the creation of a female quartet, HIGANBANA<\/em>, in 2027.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 3,\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 \"absolute_position\": false\r\n }\r\n ]\r\n}","phonegrid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n 5,\r\n 5,\r\n 5\r\n ],\r\n \"frameMargin\": 5,\r\n \"leftFrameMargin\": 5,\r\n \"rightFrameMargin\": 5,\r\n \"topFrameMargin\": \"15\",\r\n \"bottomFrameMargin\": 5,\r\n \"rowAttrs\": [\r\n {\r\n \"relid\": 7\r\n },\r\n {\r\n \"relid\": 8\r\n },\r\n {\r\n \"relid\": 10\r\n },\r\n {\r\n \"relid\": 11\r\n }\r\n ],\r\n \"bgColor\": null,\r\n \"bgImage\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"About<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 0,\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\": 9\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"
Emmanuelle Vo-Dinh Biography<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 1,\r\n \"col\": 0,\r\n \"colspan\": 7,\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\": 4,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 2,\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\": 113,\r\n \"attid\": 1223,\r\n \"sizes\": {\r\n \"full\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min.jpg\",\r\n \"_4096\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min-4096x6144.jpg\",\r\n \"_3840\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min-3840x5760.jpg\",\r\n \"_3200\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min-3200x4800.jpg\",\r\n \"_2560\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min-2560x3840.jpg\",\r\n \"_1920\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min-1920x2880.jpg\",\r\n \"_1280\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min-1280x1920.jpg\",\r\n \"_1024\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min-1024x1536.jpg\",\r\n \"_768\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min-768x1152.jpg\",\r\n \"_512\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min-512x768.jpg\",\r\n \"_265\": \"http:\/\/pavillon-s.com\/wp-content\/uploads\/2022\/07\/A7406668-min-265x398.jpg\"\r\n },\r\n \"w\": 4672,\r\n \"h\": 7008,\r\n \"ar\": 1.5,\r\n \"alt\": \"\",\r\n \"frameOverflow\": \"\",\r\n \"caption\": \"
Research by the neurologist Antonio Damasio, about the importance of emotion \u2013 inspired her iconic early works Texture\/solo and Texture\/Composite. Sagen delves into the \u201canti\u201d-psychiatry of Jean Oury, which deals with schizophrenia. Theses by Fran\u00e7oise H\u00e9ritier on the masculine\/ feminine inspired -transire- and -insight- (2010, 2013). The complex density of these themes facilitate and sharpen the exploration of the dancers\u2019 bodies.
Emmanuelle Vo-Dinh is also interested in repetitive minimalism, notably in CROIS\u00e9ES, White light, Ici\/Per.For<\/em> \u2013 2005, 2006, exploring play in Aboli Bibelot\u2026 Rebondi<\/em> (2008), and exploring it further in Sprint (2013). She chose to create with important musical works by Zeena Parkins, Dusapin, Grisey; and also explores the visual arts.
Director of Le Phare, Centre chor\u00e9graphique of Le Havre, Normandie from 2012 to 2021, her works are somewhat more theatrical: Tombouctou d\u00e9j\u00e0-vu<\/em> (Avignon, 2015), Belles et bois<\/em> (2016), Simon Says<\/em> (2017), Cocagne<\/em> (2018), La for\u00eat de glace<\/em> (2020), Attractions<\/em> (2021). Her exhaustive movement vocabulary is constantly challenging established ideas about meanings and senses.
In 2022, she is continuing her research into cinema with ARCANES paysage<\/em>, a series of performances that combine landscape and setting (Le Moulin d'And\u00e9 on the banks of the Seine, Mont Saint-Michel, \u00c9tretat, etc.) resonating in dialogue with the work of Abbas Kiarostami (24 frames) and based on exchanges with Palestinian filmmaker Elia Suleiman on the process of writing (It must be heaven). She made her first two short films, Mirari and Everso<\/em>, in 2023, continuing this research, and at the same time created the trio MIRARI<\/em>, a stage play, reinventing other landscapes in four different rituals She also directed (autumn 2025) the music video for the song Fantaisie<\/em> by Camille Bazbaz and Crazy PP. She is currently continuing this cycle of writing around the frame through the work of Yasujir\u00f4 Ozu. The Japanese filmmaker opens up a rich and complex field for her in a \u2018method\u2019 that singularly articulates staging, framing, choreography, and scenography to achieve a cinema that aims for purity. The subject of her research will give rise to the production of a new short film, ARCANES paysage<\/em>, in 2026, an eponymous performance, and the creation of a female quartet, HIGANBANA<\/em>, in 2027.<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 3,\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 \"frameOverflow\": \"\"\r\n }\r\n ]\r\n}","_links":{"self":[{"href":"https:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/posts\/89","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/comments?post=89"}],"version-history":[{"count":0,"href":"https:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/posts\/89\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/media\/91"}],"wp:attachment":[{"href":"https:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/media?parent=89"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/categories?post=89"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/tags?post=89"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}