TROUPE MARYSE DELENTE - Rhône-Alpes Arts · Giselle ou le mensonge romantique (Giselle or the romantic lie) and Sacre du Printemps (The spring rite) both met with great success

Expressionist Contemporary Dance

Image Christian Ganet

TROUPE

MARYSE DELENTE

- Presentation of the troupe

- Maryse Delente’s biography

- Available tour repertoire

- Performance calendar

MARYSE DELENTE TROUPE

CONTACTSOffice address: 20 montée St Sébastien – 69001 Lyon, France

Communication : Alexa Ménégon : Tel. (0033) (562) 04 27 67 82 21 / 06 83 39 38 57Administrative director : Olivier Jarret : Tel. (0033) (562) 04 69 60 77 00 / 06 09 02 56 35

The Maryse Delente troupe


Created in February 2003, under the presidency of Françoise Adret, the troupe brings together a majority of Maryse Delente’s old colleagues from the Ballet du Nord (dancers, technicians and administrators). The troupe further grew in number following the creation of A la recherche de Mister K (The search for Mister K) which brought about the arrival of several dancers of the CNDC of Angers and other European troupes. The Maryse Delente troupe continued its work in 2003-2004 with the creation of La Belle…Au Bois Dormant ? (Sleeping Beauty...sleeping woods?) co-produced with Introdans (Netherlands), Scène Nationale de Sceaux (The official theatre of Sceaux) and CDN in Valence, where the troupe worked on location. March 2006 saw the conception of Merci pour tout (Thanks for everything) co-produced with CCN (Nantes), the Gruber Ballet Opera and the Theatre of Roanne.

In 2005-2006, the troupe established L’Usine (The Factory) at Roanne as their home and workplace.

The troupe has also simultaneously undertaken numerous public-awareness activities across the years, and maintains a repertoire of several of Maryse Delente’s choreographies (La Cloche de Verre, Mariana, Les Petites, El Canto de Despedida, Si tu me quittes…).

The Maryse Delente troupe is financially supported by the Ministry of Culture and Communication - Drac Rhône-Alpes, by the Regional Council of Rhône-Alpes, by the General Council of the Loire and by the City of Roanne.

Maryse Delente

All rights reserved

In 1985, Maryse Delente left the Ballet de Lyon where she was a soloist, and proudly plunged into adventure. With nothing more than her talent, her fierce will and a very recent choreographic history: in 1982, her first work, Automne (Autumn), for which she received the award for choreography at the concours de Cologne; her second choreography was staged at the Opéra du Nord; and her third work, Symphonia da Requiem, a heartrending women’s trio, was commissioned by Françoise Adret and written for the Ballet de Lyon.

It is undoubtedly this eloquent record of achievements and her open-mindedness towards field-work with the public, that prompted the mayor of Vaulx-en-Velin to offer her a state-of-the-art studio in 1986, a grant of a hundred thousand francs and the status of resident choreographer with the city’s cultural centre. Though generous, these facilities are meagre indeed for the sustenance of a troupe however restrained.

If Maryse Delente created a dozen works in ten years, she worked equally hard to assure a decent status for the interpreters of her work.

Her choreography is atypical in that, her work values made her build a troupe of excellent dancers and forge strong regional links, rather than seek a Parisian fame at all costs.

This is especially evident in her style, which was for a long time against the current trends. She works with a expressionist and lyrical streak, where the female figure, whether saint-like or demonical, has long been a predominant feature, where flowing hair quivers under the effect of heightened sensuality. Among the bodies bending under the effets of passion in virtuous twirling robes, among the movements of violent passions and in this taste for a certain solemnity, one can find echoes of an affinity with Marta Graham’s dramaturgy. Maryse Delente intoxicates with pure dance. She also revisits, when the occasion calls for it, a few of the repertoire’s exploits. After Don Quichotte, Giselle ou le mensonge romantique (Giselle or the romantic lie) and Sacre du Printemps (The spring rite) both met with great success. Prolix gestures, generous writing and the whole tinted with a biting view on the rapports that govern men and women. This is what Delente’s style is all about.

Maryse DelenteCareer

Trained at the Conservatoire de Bordeaux (Conservatory of Bordeaux),

Dancer Capitole de Toulouse,

The Royal Ballet of Wallonia

Soloist Ballet de l’Opéra de Lyon (Opera of Lyon).

1982 First prize for choreography at the concours de Cologne.

1985 Creation of the Maryse Delente troupe and its establishment at Vaulx-en-Velin.

1995 Director of Ballet du Nord / CCN Roubaix (Nord Pas de Calais)

1999 Nominated for the international award of the “Benois de la Danse” at the Opera of Berlin.Bestowed the honour of Chevalier des Arts et des Lettres.

2000 The Ballet du Nord reaches a membership of more than 1200 (as against 450 in 1995) and presents more than 60 shows. Its dance school is recognised by the Ministry of Culture.Featured at the Olympia in Paris in Decembre 2000 through Marie-Claude Pietragalla.

2001 Designated choreographer for the dutch troupe “Introdans” for its 30th anniversary celebrations.

2003 Celebrates the 20th year of her career at the Théâtre National de Chaillot, in Paris, through her creation A la recherche de Mister K (The search for Mr. K) produced by her newly-formed independent troupe of dancers from the Ballet du Nord and the CNDC of Angers.

2006 Reunites with the Rhône-Alpes region to pursue her activities as choreographer and troupe director of “l’Usine” at Roanne.

Maryse DelenteWorks

1986 Don Quichotte1987 Ariane

Pénélope et les autres (Penelope and the others) 1988 L’Heure Bleue (The blue hour)

Opus 37 en femme majeure Orféo

1989 Mariana1990 Les Yeux de Lilith (Litith’s eyes)1991 Entre chien et loup (Between dog and wolf)1993 Le Sacre du Printemps (The spring rite)1994 L’Étrangère (The strange woman) 1995 Ninna Nanna

El Canto de Despedida (Despedida’s song)Giselle ou le Mensonge Romantique (Giselle or the romantic lie)

1996 Roméo et Juliette (Romeo and Juliette)Orphée et Eurydice (Orpheus and Eurydice)

1997 Si tu me quittes est ce que je peux venir aussi ? (If you leave, can I come too?)

1998 Nous n’irons plus au bois (We won’t go to the woods anymore)

1999 Barbe Bleue ( Blue Beard)2000 Le Feu Dérobé Les Chevaux du Temps

(The stolen fire of time’s horses)2001 Au Bout de la Nuit (At the end of the night)

Les Petites (The little ones) 2002 Les Chemins Poétiques (Poetic paths)2003 A la Recherche de Mister K (The search for Mister K.)2004 La Belle… Au Bois Dormant ?

(Sleeping Beauty...sleeping woods?)2006 Merci pour tout! (Thanks for everything)2008 La Cloche de Verre (The bell jar) 2011 Journal d'hiver, l'inconnue (Winter Journal, the unknown)

Guest Choreographer at

• Ballet de l’Opéra de Lyon • Opéra du Nord,• Opéra de Nice • Opera of Berlin, • Opéra d’Avignon • Aalto Ballet Theater Essen, • Ballet National de Marseille, • Ballet National de Nancy,• Introdans• Ballet du Rhin

Maryse DelentePress

“Le progres” - 14 april 2010

“Maryse Delente, une âme libre” (Maryse Delente, a free spirit)Settled in Roanne, the choreographer shows an incomparable artistic presence. After Carlotta Ikéda, Maryse Delente and her troupe, participated through the evenings of the Mega dance week at the l'Opéra-théâtre de Saint-Etienne. With “Mariana” and five dancers in robes of crimson velvet, femininity inscribed itself in their performance, recalling the works of Dali, La Tour and Claudel, in an expression of extreme sensuality.

A beautifully written ballet with a rich and existential tempo. An ode to the plural feminine in all its strength and beauty, freed of all shackles, just like the choreographer, who dedicated her present work to the place where she works in Roanne, an old textile mill.

A location that was chosen since 2006 following her experience as the director of Ballet du Nord at Roubaix, for its proximity to her base, in the Brionnais region. Despite the regional financial aid and a good patronage in Roanne, she still faces financial difficulties and is thinking of relocating to the studio of the Théâtre de Roanne. Times are changing, she confides in us, and they are becoming increasingly difficult for artists. After having written the choreography for La Cloche de verre ( The bell jar) , 60-year old Maryse Delente has a new projet planned for 2012 with the tentative title of Journal d'hiver (Winter’s journal). It refers back to and underlines the connection with her very first work Automne (Autumn). This is the journal of the winter of my life she confides in us. I want to feature in this performance and integrate a film and an acrobatic dancer in it.

Asked about her exigencies in dance, I like all types of dance, she says. One must be curious and technical to attempt all types of dances. I started with classical dancing, then danced bare-footed and then discovered Marta Graham, the flamenco, the mime Marceau and tap-dancing. All this has provided me with a dance “vocabulary”. I can thus freely create having acquired the technique to have soul. This can produce a real richness that is pleasing. One should not remain a conformist.

Her choreographies are definitely non-conformist. They are a blend beauty and excellence and are of an unmatched originality. Maryse Delente is part of a dance scene that is the most specialised and interesting. Her choreographies are indeed representative of a wealth, the strong presence of which must be encouraged at all costs.Nicole Dupain

“Le progrès" - 10 December 2009

“Maryse Delente, une danseuse internationale” (Maryse Delente, an international dancer)Trained at the Conservatoire de Bordeaux (Conservatory of Bordeaux), danseuse at the Capitole de Toulouse, at the Royal Ballet of Wallonia, soloiste at the Ballet de l'Opéra de Lyon, Maryse Delente received, in 1982, the first prize for choreography at the concours de Cologne. In 2005, she established her work base and residence, “l’Usine”, at Roanne. Her motto : Dance is like life, it is a story of encounters. Her style: Prolixity of gestures and writing.

Maryse DelenteAvailable tour repertoire

JOURNAL D'HIVER , L'INCONNUE (Winter journal, the unknown)

Created in 2011/2012


"There's a very beautiful voice on the tape, that of

an unknown. It's a little bit like our unknown side... "

Production & distribution

Choreography by Maryse DelentePiece for 6 dancers

DistributionAurelie Deroux DauphinCharlotte ChobillonGeraldine MorlatElodie SardouYuika HokamaSarah Cerneau

CostumesEmmanuelle Tabailloux

LightsSébastien Lefèvre

MusicGorecki : 3 Olden Style Pieces,3rd movement of the string quartet Op. 62 No. 1 "Already It Is Dusk",3rd movement Kleines Requiem Für Eine Polka, Op. 66Mendelssohn : Songs Without WordsVoice of Mongolia (collection unknown)Soundtrack with sirens, barking bogs, voice (collection unknown)

CreationOctober 2011 at the Roanne Théâtre

Duration1 hour without interval

Co-productionNational Theatre of Sceaux : Les GémeauxRoanne Municipal Theatre -Maryse Delente Company

Journal d'hiver, l'inconnue (Winter journal, the unknown) Statement of intent


"Thirty years ago my first choreography was called Autumn, my life as a professional dancer was ending...it was a choreography on a turning page, a nostalgia, a sort of acceptance of time passing.

Being an artist, dancer or choreographer, is not a profession but a state of being, often painful. Being an artist is a necessity which at times destroys everything.Winter Journal - The Unknown, showcases my impulses that, since Autumn, have never left me and push me to create. This kind of strength and hysteria grabs hold of me; imagine, all this tension that I have in order to invent a ballet.

This choreography is not a return to the past but a revelation of my drive toward creation, my connection to the body and the spirit of dance. But even without a narration, a connection exists, logic in the pieces of the puzzle.

Often hidden behind the pretense of a theme, a very intimate part of my personality is reflected in my choreography, sometimes imperceptibly. Sylvia Plath's writing is an echo of this intimacy. Her texts transform intuitions and feelings into words, before I express them in my turn, through movements and images.

Building upon the work started by La Cloche de Verre (2008 creation) the choreography will also examine, visually, the relationship between body and mind, that dance briefly violates. "

Maryse Delente

Journal d'hiver, l'inconnue (Winter journal, the unknown)


"I will walk, as I did tonight, jealous of my solitude, into the silvery blue of the icy moon that sparkles on the freshly piled snowdrifts sending out thousands of sparkles. I talk to myself while contemplating the somber trees, a blissful neutrality.It's so much easier than confronting people, than having to appear happy, invincible, intelligent; All masks removed, I walk, while talking to the moon, to this neutral and impersonal force that doesn't hear me but that agrees, quite simply, to accept my existence."

"So there it is, the latent terror and its symptoms; suddenly it's all or nothing, either you shatter the outer shell and in so doing discover the unfathomable void, or you refrain. I want to rediscover the intermediary life that I once knew, where my being was able to penetrate the "ordinariness", of everyday life: eating, reading, writing, running errands--in which everything is good in and of itself, not reduced to some hectic activity carried out in the hopes of disguising fear that must look itself in the face and engage in a fatal combat while saying 'life goes on'"

"I have a choice between two attitudes--happiness through constant action or apathy and sorrow through introspection. Or, otherwise, I can go crazy in ricocheting from one to the other ... "

Sylvia Plath

Journal d'hiver, l'inconnue (Winter journal, the unknown)Press

Critiphotodanse – june 2012

A Look at the past

There are moments in life when one feels the need to glance backwards, to look closely at one’s past, to gain clarity on one’s work, to re-evaluate the chosen path, in order to discern the path that lies ahead. An artist, more than anyone else, needs to do this sort of flashback, this self-evaluation in order to question himself and re-route, if need be, his future path. Winter Journal - The Unknown is born out of this need. Thirty years have passed since Maryse Delente offered the public her first choreography, Automne, for which she won the Grand Prize of choreography in Cologne. Her path has been one of depth and precision, never ceasing to portray on the one hand, images of women who fall victim to the selfishness and violence of man, and on the other, the artist’s love of nature. It is not a coincidence that Winter Journal calls on female performers alone nor that the work can seem dark and imbued with pain. More than a look at the past, it is like a diary handed to us by the choreographer, revealing that which, in the depths of herself drove her to create, often in pain. For an artist creating is a need, a necessity. It is part of themselves that they lavish often with urgency and always in pain. Winter Journal reveals some of the many little things that consumed Maryse Delente—her inner life, during the creative periods of her work. It is therefore very personal and can be difficult for those of us who are not in on the secret to decipher. The many questions that the piece raises remain, more often than not, unanswered. For example, what do the various sound effects superimposed onto the poignant music of Gorecki or Mendelssohn used to support the work mean? In fact the continuous dog barking sounds that reappear several times in the ballet are an echo of the sadness felt by the choreographer for our four-legged friends deprived of liberty for days on end, often tied up or enclosed in tiny confined spaces. The non-stop howl of police or firemen sirens aims to remind us that the piece takes place in a state of extreme tension and often in urgency. The different themes that make up this ballet are not difficult to interpret and understand. If one quickly catches on to the fact that the soloist who "opens" and "closes" the piece embodies the choreography, it is not difficult to understand the meaning and importance of her solo in front of the mirror in the last sequence of the work. The mirror enables her reflection to pass through it, and in doing so, leads to the splitting of her personality, this split forces her to accept herself and reveal herself to others as she really is. Much like the Sylvie Plath text, underlying this piece, which invites man to look himself directly in the face. The richness of the choreography in and of itself, reveals in a parallel manner, the passion, strength, and pugnacity that give it life, as well as feelings of revolt which at times, pierce it. It reveals the trajectory of a battered woman who for thirty years, has had the courage to fight against evil and adversity without ever failing.

Jean Marie Gourreau


LA CLOCHE DE VERRE (The bell jar)Based on « La Cloche de Détresse » by Sylvia Plath

Created in 2008


With Maryse Delente, the exploration of bodies in motion, of sensitivity and of careful aesthetics, never ends. This performance is a tribute to the sensitivity and the precision of gestures, and to the purity of movement. Cloche de verre (The bell jar) plunges us into a universe of tragic femininity that the choreographer knows how to depict so well, with transcendental bodies of pained women, floating between two waters, in intensely emotional moments that freeze time, punctuated by unexpected movements of rare beauty.

A modest and delicate way of raising the dead shadows of creatures mourning what they have been. Indeed the art of choreography at its height.


Choreography byMaryse Delente For 5 dancers

Distribution Aurélie Deroux DauphinCharlotte ChobillonGéraldine MorlatElodie SardouYuika Hokama

CostumesEmmanuelle Tabailloux

LightingSébastien Lefèvre

VideoStéphane Broc

MusicHenryk Gorecki, Symphonie N° 3

Production ManagerThierry Varenne

Creation16 and 17 May 2008Théâtre les Gémeaux,Scène nationale de Sceaux

Duration1 hour 10 minutes without interval

A co-production ofMaryse Delente TroupeThéâtre les Gémeaux,Scène nationale de SceauxThéâtre Municipal de RoanneGrand Théâtre de Lorient

La Cloche de Verre (The bell jar) Statement of intent

“When I first discovered Sylvia Plath’s universe, the American poet and writer (1932 to 1963), I immediately had the feeling I had always known her. The words she uses to try and exorcise the emotions that drown her like a tornado, unleashed within me the images that inspired this creation.”

“I have tried to depict my universe and the people that inhabit it as they appear to me when seen through the distortion of a bell jar.” Sylvia Plath couldn’t wait for life to come to her, rather she rushed towards it, to make things happen.

She is the poet of depression, of insecurity, of wild sentiments and of confusion in a sterile world.

In spite of her fear to live, she had the courage to confide in words the states of pain that ripped through her daily existence. Her writings, generated by an imagination haunted by the insignificance and the buffoonery of human relationships, take us to the very edge of the precipice.

“For those under the bell jar, the world is but a bad dream.”

The notion of transparency is of foremost importance: work must be done on its meaning, on light, on materials... To attain those instances of transparency that where boundaries fade between the within and the without, between the real and the imaginary, between black and white, between speech and silence...

There also is the notion of imprisonment, a closed universe that isolates, but also protects. One shuts oneself to better open, the eternal duality and complementarity of extremes. From the uterus to the coffin...small boxes...

A glass bell jar is a space confined to the image of the one necessary for the creative act. The artist is a tightrope walker, he walks on the thread of his life. His questions, his doubts and his certainties together create a universe that he desires to be as close as possible to reality. The creative act is a dialogue. Starting a dialogue with another necessarily means having accepted to answer one’s own questions within oneself.

For the creator, it is the liberty to express his opinions and his emotions against all external pressures and impressions. He also has the faculty to extract them from their confinement, to take them out and show them for all to see.

A bell jar is a greenhouse for growth…it is a promised space...

“My arms crossed, I press my back against the moss-covered earth as hard as I can, to allow all the saps to enter and spread through my body. I look at the sky as I have never looked at it before...I melt in it, I have no limits, no end.” (Nathalie Sarraute in Enfance)

Maryse Delente

La Cloche de Verre (The bell jar) Press

“Nouvel Observateur”, 29 May 2008, by Raphaël de Gubernatis


“Maryse Delente ”La Cloche de verre” (Maryse Delente “The bell jar”) Created in May 2008, at Sceaux.Its originality is its strength: in no way does Maryse Delente’s work resemble that of any of her contemporaries in France. And if we tried to find analogies, it would be with the lyricism of Martha Graham or the inspired breath of German impressionism.

In “La Cloche de verre” (The bell jar), which lasts an hour, the choreography takes delight in diving once more into the universe of tragic femininity.

Five beautiful and sorrowful feminine figures, resigned to suffering, move in response to the pure symbolism of filmed images of women floating between two waters (by Stéphane Broc). The sombre musical composition of the third symphony of Gorecki gives the whole atmosphere weight and drama.

It sustains the choreography whose intended simplicity is like a long lament, a plaintive song that concludes in an ocean of tears within which are reflected the dead shadows of creatures mourning what they were.

Apart from the music, the whole ensemble rests on the emotion that rises out from the choreography, punctuated by unexpectedly modest movements, upon the appearance of the soloist. And let us not forget the atmosphere created by Sébastien Lefèvre’s lighting.

Raphaël de Gubernatis


MARIANARemake 1989


Created twenty years ago, Mariana has contributed largely to Maryse Delente’s success.

Its starting point? A seventeenth century literary work: the « Lettres de la religieuse portugaise » ( Letters of the Portuguese nun) . A nun, or innocence personified, in a closed oyster, she is also Eurydice and Orpheus.

Mariana is the lost one, the one who seeks. She is the heroine within every woman, the one who makes mistakes, who undertakes her own voyage of discovery. It is a voyage of love in its tenderness and its violence, its humour and its tragedy. Perhaps, even a melodrama. Most certainly a display of irony.

Here too, the choreographer brings together a quintet of women, at times weighed down by their heavy crimson dresses that are a reminder of the soul’s secrets and the heart’s oppressions.

The theme is that of innocence, with a superb declension, majestically evoked by movements that combine elegance and efficiency at all times.


Choreography byMaryse Delentefor 5 dancers

Distribution Aurélie Deroux DauphinCharlotte ChobilloGéraldine MorlatElodie SardouYuika Hokama

LightingThierry Dubief

MusicPhilip Glass -Musiques des Pygmées Aka, La Gatta Cenerentola Roberto de Simone - Extraits des Lavandières: Chants traditionnels napolitains

CostumesJosy Lopez

Conception, designArièle Bonzon

Duration55 minutes

ConceptualisationIn 1989 at the Centre Charlie Chaplin

Co-produced by Centre Culturel Charlie Chaplin - Vaulx en VelinLe GRAME

MarianaPress


Festival “Le temps d’aimer la danse” (A time to love dance) BIARRITZ - September 2010

“Plus qu’un chiffon rouge” (More than just a red rag)“The impression of being at the heart of the circulation, of the circulation of the heart...Blood red, as powerful as the world. A torrent rushes past you, the wind that follows it overthrows you, hot and cold, you burn and shiver. Without question on the why of things, you find yourself alive. Maryse Delente’s dance carries you away, pierces through you and drowns you.

It is strong, you give up in abandon, already conquered. (...) On stage, five girls. Each unique, each with her own destiny. What they have in common is energy, momentum, desire and hunger. As women, they dance, they cry, they give birth, they explode. They master form, colours ad rhythms as they leap and swallow space in exultation. In spite of the burden of their heavy crimson robes, they use them to advantage, never conquered. The robes are their fortress, their protection, their weapon. (...)A magnificent moment of primordial dance, the théâtre du Casino will long feel its effect.”

“Le Sud-Ouest” – 22 septembre 2010

“Entrez dans la transe…” (Enter into the trance...)(…)Later, still at the Théâtre du Casino with the Maryse Delente troupe and “Mariana”, a dance created twenty years ago, but whose overwhelming beauty continues. Women’s portraits oscillate between restraint and emancipation. Weighed down by beautiful crimson dresses like mechanical dolls, they also liberate themselves. They honour a sublime solo, interpreted by Géraldine Morlat, in a wild, sensual breathless dance.(…)

Céline Musseau


GISELLE OU LE MENSONGE ROMANTIQUE(Giselle or the romantic lie)

Remake 1995


Giselle was born out of the passion that Theophile Gautier felt at the sight of the young 20-year-old Italian dancer, Carlotta Grisi.

The young romantic took his inspiration from one of Victor Hugo's "Orientales", entitled “les fantômes”, and from Henrich Heine's story about the legend of the Wilis in his collection of short stories, "De l'Allemagne" (From Germany)."The Willis are the ghosts of young girls who have died before their wedding day. These poor creatures are unable to sleep in peace. Their love of dance, unsatisfied during life, still exists within their dead hearts and lifeless feet, and at midnight they leave their tombs to wander the streets together. Misfortune comes to any young man who gets in their way as the creatures surround their frantic prey—their desire, and make him dance with them until he drops dead. Dressed in their wedding dresses, the Willis dance like fairies in the moonlight.

" Using ghost-like choreography, Maryse Delente depicts frantic ghosts in ballet form. Thierry Dubief's use of smoke to create an eery light accentuates the evanescent effect. In the almost naked space, the white creatures move around like crabs. The atmosphere of the show is fluid, and at times funny, as with the repeated sequences of the Giselle who rise tirelessly and with great strides in their bed of mist. "[...] The choreography seamlessly combines modern-day language with classical."

"Frantic desire" and "immateriality" are the only elements that I shall keep from this legend. Maryse Delente


Choreography byMaryse Delentefor 6 dancers

Distribution Aurélie Deroux DauphinCharlotte ChobilloGéraldine MorlatElodie SardouYuika Hokama

LightingThierry Dubief

MusicAdolphe Adam

CostumesChristine Brottes, Béatrice Verma

Conception, designArièle Bonzon

Duration1 hour

ConceptualisationIn 1995 at the Centre Charlie Chaplin - Vaulx en Velin

Co-produced by Centre Culturel Charlie Chaplin - Vaulx en Velin

GISELLE OU LE MENSONGE ROMANTIQUE(Giselle or the romantic lie)Press


Le Monde

Interweaving modern day and classical vocabulary, similar to Martha Graham and Jose Limon, Maryse Delente's language is bold and imposing, at times dizzyingly passionate, at other times distanced by humor.

Sylvie Nussac Telex Dance

"Maryse Delente presents us with a late 20th century interpretation of Giselle. We get to know a new generation of Willis (...)This choreography excels in enlivening the human figure; the women become flawless while maintaining their humanity. Farewell little romantic powdered-up Willis, hello sexy little seductive ghosts.

Ballet 2000

"The choreography shines in its intelligence and musicality; the dancers [...] are excellent—as original and as ephemeral as a voice from beyond the grave. "

Compagnie Maryse DelentePerformance calendar

2011/2012 SEASON05 october 2011: Théâtre municipal – Roanne (42) Journal d’Hiver

06 october 2011: Théâtre municipal – Roanne (42) Journal d’Hiver

07 october 2011: Théâtre municipal – Roanne (42) Journal d’Hiver

13 october 2011: La Rampe – Echirolles (38)Les petites & Mariana

5 november 2011: Théâtre Le Gallia - Saintes (17) El canto de despedida & Mariana

8 november 2011: Théâtre Georges-Leygues - Villeneuve sur Lot (47)El canto de despedida & Mariana

15 november 2011: Théâtre de Cusset (03)El canto de despedida & Mariana

5 décember 2011: Théâtre du Vellein - Villefontaine (38)El canto de despedida & Mariana

6 décember 2011: Théâtre du Vellein - Villefontaine (38)El canto de despedida & Mariana

3 february 2012 : Centre culturel Théo Argence – Saint Priest (69)El canto de despedida & Mariana

9 february 2012 : Théâtre de Villefranche Sur Sâone (69) El canto de despedida & Mariana (Scolaire 14h00)

9 february 2012: Théâtre de Villefranche Sur Sâone (69) El canto de despedida & Mariana (Tout public 20h30)

21 february 2012: Centre Culturel Le Rive Gauche – St Etienne de Rouvray (76) Mariana

17 march 2012: Scène Nationale d’Albi (81) El canto de despedida & Mariana

20 march 2012: Théâtre Astrée – Villeurbanne (69) El canto de despedida & Les petites & Nina nana

4 may 2012 : Rencontres chorégraphiques de Carthage -TunisieMariana

1 june and 2 june 2012: Scène Nationale de Sceaux (92)Si tu me quittes… & Journal d’Hiver

15 june 2012 : Théâtre du Parc - Andrézieux Bouthéon (42)

Si tu me quittes…

2012/2013 SEASON

29 august au 1 september 2012: Tanzmesse - Dusseldorf

05 october 2012 : Théâtre municipal – Roanne (42)Giselle ou le mensonge romantique



14 décember 2012 : Théâtre du Parc - Andrézieux Bouthéon (42)El Canto de Despedida & Mariana

14 décember 2012 : Théâtre du Parc - Andrézieux Bouthéon (42)El Canto de Despedida & Mariana

25 january 2013 : Centre Culturel de Sarzeau (56)Mariana

02 fébruary 2013 : Centre Culturel Théo Argence - Saint Priest (69)Giselle ou le mensonge romantique

06 fébruary 2013 : Le Forum - Falaise (14)Giselle ou le mensonge romantique

26 march 2013 : Le Grand Angle - Voiron (38)Giselle ou le mensonge romantique

06 april 2013 : Théâtre Municipal de Bergerac (24)El Canto de Despedida & Mariana

09 april 2013 : Théâtre Municipal de Montélimar (26)El Canto de Despedida & Mariana

13 april 2013 : Centre Culturel L'Echappé - Sorbiers (42)Giselle ou le mensonge romantique

17 may 2013 : Théâtre de Grenoble (38)Giselle ou le mensonge romantique

22 may 2013 : Le Dôme Théâtre - Albertville (74)El Canto de Despedida & Mariana

Documents

TROUPE MARYSE DELENTE - Rhône-Alpes Arts · Giselle ou le mensonge romantique (Giselle or the romantic lie) and Sacre du Printemps (The spring rite) both met with great success