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Béatrice Massin
Biography
After dancing in several contemporary dance companies such as the Susan Buirge company, Béatrice Massin meets Francine Lancelot in 1983 and joins her dance company, Ris & Danceries.
Baroque language appropriation process immediately starts after this encounter. It is the discovery of the choreographic writing and its stage codes that defines, for Béatrice Massin, a framework whose limits she always plays with.
As part of Ris & Danceries, she is successively interpreter, Francine Lancelot’s assistant (Atys, 1986), artistic collaborator (Fairy Queen, 1989; etc.), choreographer (Water Music, 1990), before creating her own dance company in 1993, Fêtes galantes. From then on, she surrounds herself with a collaborative staff for her creations, and she associates them to her researches.
Today, Béatrice Massin interferes as a specialist in baroque dance. She has regularly been commissioned (Le roi danse, a Gérard Corbiau film, 1999; La Parade baroque, Dance National Center (CND) official opening, 2004; Le loup et l’agneau, as part of Les Fables à La Fontaine project, La Petite Fabrique, 2004) and trains a new generation of dancers and choreographers within the framework of L’Atelier baroque, created in 2003.
Fêtes galantes company
Created in 1993 by Béatrice Massin, the dance company Fêtes galantes develops the various aspects of baroque dance as well as of the choreographic writing. This project comes from the confrontation between baroque style and contemporary dance.
Far from historical reconstruction, the company work tries to create links between baroque gesture and contemporary dance. This process can be perceived along the productions :
1993, choregraphy for the opera Médée (Charpentier). Stage direction : JM. Villégier. Musical direction : W. Christie.
1994, Charpentier des Ténèbres (Lambert, Lully, Charpentier). A choreographic and musical journey… From Air de Cour to Magnificat for three voices.
1994, choreography for James Ivory film, Jefferson in Paris .
1995, Divertissement chez Madame de Sévigné (Lully, Campra, Marais). A reconstruction from baroque dance repertoire.
1996, La Carte du Tendre (Couperin). In homage to theatre and baroque set design.
1997, re-creation of Water Music (Haendel) by Fêtes galantes’ dancers.
1997, Les Folies d’Espagne (Marais). A montage of Feuillet and Pécour’s choregraphies.
1998, Pimpinone (Telemann). A choreographic opera.
1999, Alcina (Haendel). A playful interlude.
1999, choreography for Gérard Corbiau fim, Le roi danse.
2001, choreography for the Ballet de Lorraine, Noir du côté de Callot.
2002, Trio Triptyque (Marais, Leclair, Haendel). A choreographic recreation…
2002, Que ma joie demeure (Bach).
2004, Le loup et l’agneau (Marais) as part of Les Fables à la Fontaine project, La Petite Fabrique.
2004, La Parade baroque : for the Dance National Centre (CND) official opening.
2006, Un Voyage d’hiver (Schubert).
2007, Un air de Folies (Marais, Lambert, Guédron, Bataille, Boesset).
2009, Songes (Lully, Charpentier, Vivaldi, Purcell)
L’Atelier baroque was created in 2003 because of the constant preoccupation of Fêtes galantes company with education, Considered as a tool for research and knowledge transmission, its main goal is education programmes as well as dance professional training. But it is mainly a bridge between past and future.
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