First comes the need. To create. Born in Saint-Etienne (France) in 1981. The city in which he founded the company PARC in 2004 with Emilie Tournaire and Pierre Treille. The city where he lives. His taste for music, visual arts and dancing made him choose the artistic path very early on. Dancing imposed itself as the place where all the arts can converge.

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"COMPAGNIE PARC" First comes the need. To create. Born in Saint-Etienne (France) in 1981. The city in which he founded the company PARC in 2004 with Emilie Tournaire and Pierre Treille. His taste for music, visual arts and dancing made him early choose the artistic path.

Graduated from the ESDC Rosella Hightower, winner of the Lausanne Prize in 1999, Pierre Pontvianne was a performer within the Nederlands Dans Theater 2, before working free-lance throughout Europe, in particular for the Frankfurt Ballet and the co. Carte Blanche (Norway). At the same time, he was part of many other projects between the Netherlands, Germany, Belgium and France.

All his creations go through a process of musical composition that he transcribes into bodies and space. The choreographic language that arises is both moving and pictorial, sensitive to collisions, tipping-points and transformation phenomena that our world experiences. Since 2014, Pierre Pontvianne and the Compagnie PARC have been involved in the project RAMDAM, en Centre d’art (Lion). "


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Mass

For Pierre Pontvianne creating only makes sense when approached as a process, in reaction to reality. Even if he tends towards abstraction his choreographic work is never dissociated from the world in which he lives. The choreographer places dance at the core of the subject matter he interrogates in order to extract substance and momentum.
 


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Janet on the Roof

With this solo performance, the choreographer offers a dance that is both moving and pictorial, where imperceptible changes of posture and intense energy shifts represent the minuscule and immense transformations our world endures.


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Là-Sextet

In this choreographic work, the substance acts like a virus, instilling something ineluctable within us. A continual tension emanates from the fusion of gestures that slide one into another. The movement unfolds in a dilated temporal interstice.

Là-Sextet captures our attention and we find ourselves petrified, as if caught in a shock wave.