5 июля 2017 года, 20:00

Жозеф Надж и Жоэль Леандр (ФРАНЦИЯ) "ПЕНЗУМ" / мировая премьера

Новая сцена Александринского театра

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Идея и исполнение: Жозеф Надж, Жоэль Леандр

Художник по свету: Кристиан Шелтенс

Сценография: Жюльен Флёро

Маски: Жаклин Боссон

Технический директор: Сильвен Блоко

Костюмы:  Александра Пешич

Копродукция - Национальный центр хореографии в Орлеане, Atelier 3+1


Мировая премьера

Спектакль “Пензум” построен на дневниковых записях венгерского поэта начала двадцатого века Йожефа Аттилы. Это страстный монолог о невозможной любви, обращенной к Флоре, его психотерапевту. Поэт умрет в возрасте 32 лет, бросившись под поезд.


Жоэль Леандр

Французская контрабасистка, импровизатор и композитор. Одна из главных фигур новой европейской музыки. Выступала вместе с Ensemble interContemporain и ансамблем 2E2M. Записала более 180 дисков и книгу диалогов в Франком Медиони. Ей посвящали музыку Мортон Фельдман, Джачинто Шельси и Джон Кедж.


Жозеф Надж


Хореограф, художник, фотограф и режиссёр Жозеф Надж может являться символом современного французского танца, В начале 80-х выпускник факультета истории искусств будапештского университета приехал в Париж, где открыл для себя танец как территорию свободы.

 С тех пор Жозеф Надж  поставил более 30 спектаклей, объездил с гастролями 50 стран, в том числе Россию. Российские критики нарекли его «самой загадочной личностью современного театра» и дважды присудили “Золотую маску” в категории “лучший иностранный спектакль года”.

 С 1995 по 2017 год Жозеф Надж возглавлял Национальный центр хореографии в Орлеане. В 2004 году, Большой зал  парижского Парка Ля Вилетт осуществил большую выставку-ретроспективу Мастера, представив одновременно спектакли,  фильмы, а также рисунки и фотографии Наджа. В 2006 году Жозеф Надж стал Главным приглашённым Артистом Авиньонского театрального фестиваля  и показал премьеру своего спектакля «Asobu » в знаменитом дворе Папского дворца.



Concept & performance by Josef Nadj, Joëlle Léandre

Lighting Christian Scheltens

Stage design Julien Fleureau

Mask design Jacqueline Bosson

technical director on tour : Sylvain Blocquaux

costumes : Aleksandra Pešić

Duration 50 minutes

Production Centre chorégraphique national d’Orléans, Atelier 3+1

On stage, not more than two tables and a wall of white paper on which to draw. Joëlle Léandre, with her double-bass, is wearing an African mask. She faces Josef Nadj, of whom mask and costume are suggesting a female character.

PENZUM is an impromptu in tribute to Hungarian poet Jozsef Attila (1905-1937). Exploring in silence and music excerpts of a diary he wrote on request by Flora Kozmutza his psychoanalyst, as part of his therapy.

Madly in love with Flora, Jozsef Attila writes in profusion. In a form of automatic writing, he implores and tries to grab her, loses himself in delirium and confused directions.. His love is not reciprocated and his schizophrenia starts over again. The poet dies, throwing himself under a train at the age of 32.

Josef Nadj approaches the wall and blackens the white paper with black coal. Narrative patterns emerge: a chrysalis, a butterfly


A music box starts to play, reminding the sound of a freight train… The bodies of the two performers become pictorial, musical and dancing matter and find their full impression in free improvisation.


French double bass player, improviser and composer, Joëlle Léandre is one of the dominant figures of the new European music. Trained in orchestral as well as contemporary music, she has played with l’Itinéraire, 2e2m and Pierre Boulez’s Ensemble Intercontemporain. Joëlle Léandre has also worked with Merce Cunningham and with John Cage, who has composed especially for her – as have Scelsi, Fénelon, Hersant, Lacy, Campana, Jolas, Clementi and about 40 composers.

As well as working in contemporary music, Léandre has played with some of the great names in jazz and improvisation, such as Derek Bailey, Anthony Braxton, George Lewis, Evan Parker, Irene Schweizer, William Parker, Barre Phillips, Pascal Contet, Steve Lacy, Lauren Newton, Peter Kowald, Urs Leimgruber, Mat Maneri, Roy Campbell, Fred Frith, John Zorn, Mark Naussef, Marilyn Crispell, India Cooke and so many others…

She has written extensively for dance and theater, and has staged a number of multidisciplinary performances. She got the DAAD at Berlin, is welcomed as artist resident at Villa Kujiyama (Kyoto). In 2002, 2004 and 2006, she is Visiting Professor at Mills college, Oakland, CA, Chaire Darius Milhaud, for improvisation and composition. Her work as a composer and a performer, both in solo recitals and a part of ensembles, has put her under the lights of the most prestigious stages of Europe, the Americas and Asia.

There are more than 150 recordings to her credit since she began recording in 1981.


Understanding dance above all as a site for encounter – this is how Josef Nadj defines his work. Beyond his role as choreographer and director of the Centre Chorégraphique National d’Orléans, the man is in fact an artist without borders and without barriers.

Dancer, but also visual artist and photographer, his vision of humanity is poetic and passionate. Constantly in search of new forms. Ceaselessly willing to explore humanity as close as possible to human truth.

Across his career, from Canard pékinois (1987) to Penzum (2017), Josef Nadj has relentlessly pursued exigent and passionate choreography where gravity and compassion take turns, where depth and humour alternate. Whether he is visiting atypical authors (Beckett, Kafka, Michaux) or bringing painting along on stage with him (in performance with Miquel Barceló), Josef Nadj flourishes in complete corporal freedom.

Oscillating between reality and fantasy, tradition and modernity, he explores the essential: man’s relationship with himself. Because for Nadj, dance is fundamentally a humanist act.

Over the years, the works of Josef Nadj have become references in contemporary dance. Beyond his national influence (Carte Blanche at the Grande Halle de La Villette in Paris in 2014; Associated Artist at the 2006 Avignon Festival that officially designated him as “creator without borders”), his work is recognized and celebrated around the globe. Enthusiastically received in nearly 50 countries, more than 400,000 audience members across five continents have appreciated his works in the most important international venues.

Drawing his inspiration from the depths of the great myths of humanity, passionately intertwining both artistic disciplines and cultural references, Josef Nadj is elaborating a universal language.

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ПЕНЗУМ / photo by Pascal Seixas