Premiere

October 11-16, 2022, Arsenic – Lausanne, Switzerland

Cast & Credits

Choreography : Marco Berrettini
Composition and musical arrangements : Antoine Françoise
With : Nathalie Broizat, Bryan Campbell, Sébastien Chatellier, Antoine Francoise, Chiara Gallerani et Antonella Sampieri
Scenography & Lights : Bruno Faucher
Costumes et accessories : *Melk Prod.
Technical direction : Nicolas Barrot
Sound Managment : Felix Perdreau

Production & touring :
Pauline Coppée – Tutu Production

Coproductions : Arsenic de Lausanne (CH), Comédie de Genève (CH), Théâtre national de Chaillot Paris (FR, Charleroi Danse / Centre chorégraphique de Wallonie Bruxelles  (BE).

La compagnie *Melk Prod. est au bénéfice d’une convention de soutien conjoint avec la Ville de Genève, le Canton de Genève et Pro Helvetia, Fondation suisse pour la culture.

A sung, danced and musical work for all those anxious, suffering, poor and confused. A work for the entire planet therefore.

In a hyper-intellectualized world, the theme of epiphany suddenly appeared to me as a breath of fresh air. It also seemed reassuring to focus on the dimension of fate, the inexplicable phenomena that happen without any visible cause or source, and whose consequences we still don’t know. The creative process of My Epifunny goes through different times, each dedicated to the emergence of characters, songs, sound experimentation and theatrical scenes. But above all, it is based on a deep work in dance, based on an internal rhythm of the bodies, a very light tension which maintains us in movement, and which is embodied here by a wiggle expressing as well eroticism, the complete despair, the absolute bliss or the loss of oneself. This piece is the result of a common work between the performers, the composer/musician Antoine Françoise, the scenographer/lighting designer Bruno Faucher and myself. 

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Premiere

September 22-26,2021, Arsenic – Lausanne, Switzerland

Cast & Credits

Conception et interprétation : Marco Berrettini, Jonathan Capdevielle & Jérôme Marin
Music live : Théo Harfoush
Cascadeur : Franck Saurel
Assistante artistique : Louis Bonnard
Scénographie & Lumières : Bruno Faucher
Régie Lumières : Antoine Friderici
Costumes : Colombe Lauriot Prévost
Création sonore : Vanessa Court
Régie générale : Jérôme Masson

Production, diffusion, administration :
Fabrik Cassiopée – Manon Crochemore et Isabelle Morel
Tutu Production –  Pauline Coppée – Tutu Production
Production déléguée : Association Poppydog (FR) & *Melk Prod (CH)

Coproductions (en cours) : L’Arsenic – Lausanne (CH), l’ADC – Genève (CH), Festival d’Automne à Paris (FR), CCN2 – Centre Chorégraphique National de Grenoble dans le cadre de l’accueil studio (FR), le Manège – Scène nationale de Reims (FR), T2G Théâtre de Genevilliers – Centre Dramatique national (FR), Théâtre des 13 vents, centre dramatique national de Montpellier (FR),  Théâtre de Lorient – centre dramatique national (FR).
Remerciements à : Nanterre-Amandiers, Centre dramatique national (FR)

La compagnie *Melk Prod. est au bénéfice d’une convention de soutien conjoint avec la Ville de Genève, le Canton de Genève et Pro Helvetia, Fondation suisse pour la culture.

L’association Poppydog est soutenue et accompagnée par la Direction régionale des affaires culturelles d’Ile-de-France – ministère de la Culture, au titre du conventionnement.

We have in common a particular attraction for the Music-Hall. This temple of music, this show of multifaceted varieties, visual attractions, musicals, feather and glitter. It devours and engulfs a multitude of artistic disciplines, artistic crafts and technical innovations for the stage and offers the public the time of an endlessly renewed show, a performance of questionable variety, sometimes prodigious, magical, breathtaking, but sometimes also pathetic, poorly imitated or faded. Its inherent monstrosity lends itself to transformation, by turning around, diverting, bypassing, confronting, poeticizing the art and the very codes of this Music-Hall.

The rhythm and melody of each issue of Music-hall and of the entire show are the fictional elements that distinguish the person on stage from what they would be in real life. This is why we will also question our personal place inside the piece, this trio, but also the place of the artist on stage, in a more general way, with specific questions, such as: how to find how not to get caught by the scene? Why take the stage too many times? How not to fail?

How not to run aground? Who is on stage: the artist or the man? This fine dividing line, where the amateur could take himself for a star, and conversely a star could totally forget the audience around him. This no man’s land where careers are broken in the blink of an eye, but where the opportunity is also created for complete strangers to access almost Zarathustrian moments.

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Press review

Premiere

January 29 to February 1, 2020 – Théâtre des Amandiers – Nanterre, France

Cast & Credits

Artistic Director: Marco Berrettini
Assistant : Chiara Gallerani
Performers: Marco Berrettini, Jean-Paul Bourel, Valérie Brau-Antony,  Ruth Childs,  Bruno Faucher, Chiara Gallerani, Antonella Sampieri, Gianfranco Poddighe
Stage design: Bruno Faucher / Marco Berrettini with the help of Jan Kopp
Creation of lights:  Bruno Faucher
Technical director : Nicolas Barrot
Sound manager: Felix Perdreau
Music: Frank Sinatra, Dean Martin, The Rat Pack
Production:*Melk Prod. / Tanzplantation
Co-productions: Théâtre des Amandiers, Nanterre (F), Impulstanz Vienna (A), Comédie de Genève (CH), Arsenic de Lausanne, Charleroi Danse.
Supports: Pro Helvetia, Fondation du Jubilé de la Mobilière Suisse

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It’s been 15 years since No Paraderan was created and the scandal of the premiere at the Théâtre de la Ville in Paris is still relevant. For many people who attended the performance, the play has something mythical about it. For the company it was the beginning of the end. Many theaters turned their backs afterwards and a few years after No Paraderan the members of the company separated.

I confess I still do not understand why this particular piece caused such violent reactions; my memories are like crumbs of a puzzle, but I feel that the time has come to take the tuxedos out of the closet (hoping the moths did not get the upper hand) and present No Paraderan today for him give the consideration it deserves. It does not matter to me that a play is surrounded by mystery or scandal, my greatest satisfaction would be to be able to consider this work as a worthy witness of an era, a glimpse behind the stage curtain of our societies, a stealthy look in the mirror of contemporary dance.

I will stage No Paraderan as it was in 2004 with almost all the interpreters of the time. See you in January 2020 at the Amandiers de Nanterre.

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“No Paraderan” Bronca d’école
Libération, par Thomas Corlin, 24/01/2020

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Premiere

May 30 to June 2, 2019 –  Arsenic – Lausanne, Switzerland

Cast & Credits

Artistic director: Marco Berrettini
Assistant : Chiara Gallerani
Choreography and performers: Marco Berrettini, Jean-Paul Bourel, Bryan Campbell, Ruth Childs, Simon Crettol, Marion Duval, Bruno Faucher, Chiara Gallerani, Milena Keller
And 9 little girls from a classical ballet school of each city where we’ll perform
Music: Sylvester, Michael Jackson, Donna Summer et d’autres…
Lights, set-design, technical director: Bruno Faucher
Production: *MELK PROD. / Tanzplantation
Coproduction: CND – Centre National de la Danse Pantin (FR), Arsenic Lausanne (CH),   Comédie de Genève (CH), Festival d’Automne à Paris (FR), Pôle Sud CDC-Strasbourg (FR)
Supports: Ministère de la Culture et de la Communication – (DRAC Ile-de- France), Pro Helvetia

Who has not dreamed one day of becoming the king or queen of an evening, dressing up the light clothes of the musical, or even dancing like Travolta in Saturday night fever? A student of the Folkwangschulen of Essen and the London school of contemporary dance, Marco Berrettini is not waiting to realize this dream. German champion of disco at the age of fifteen, he bifurcates to France and for several years becomes one of the interpreters, polyglot narrator, of the swing choreographer, Georges Appaix. Alongside his work as a dancer, the choreographer already works on multiple projects and creations. About forty untold documents have emerged since its beginnings in 1986. A primer of record titles, hit discos of the 70s and 80s, is the dramaturgy of the show created collectively by the ten performers participating in the particular spirit of this work.This unusual disco dance contest, nimbed with a sweet pink candy light is a true precise self-mockery. The incessant parade of the numbered interpreters, endowing, in turn, with a remarkable plasticity of body all kinds of sexy postures linked to collective myths, draws us little by little behind the scenes of the exploit.

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Découvrir l’interview de Marco Berrettini dans l’émission Nectar, au micro de Thierry Sartoretti (RTS )

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Cast & Credits

Creation 2018

Idea and choreography: Marco Berrettini
Dancers:  Nathalie Broizat, Sébastien Chatellier, Ruth Childs, Anne Delahaye en alternance avec Caroline Breton, Samuel Pajand
Set design and lights: Bruno Faucher
Costumes: Olivier Mulin
Egg: Claire Mayet
Technical director: Bruno Faucher
Music: Piano live – Tom Johnson, Nils Frahm, Meredith Monk, Olafur Arnalds, Bill Fay, Nina Simone, Erik Satie, Beth Gibbons, Curtis Mayfield
Management and touring: Tutu Production – Pauline Coppée
Production: *Melk Prod. (CH) / Tanzplantation (F)
Coproduction: Charleroi Danse, Centre Chorégraphique de Wallonie-Bruxelles ;Arsenic, centre d’art scénique contemporain – Lausanne ;  ICI-CCN de Montpellier, Pôle Sud-CDCN à Strasbourg
Supports: Ville de Genève, Loterie romande, Pro Helvetia,  Stanley Thomas Johnson Foundation, Fondation Ernst Goehner, Charleroi Danse – Centre Chorégraphique de Wallonie-Bruxelles, Fondation Suisse des Artistes Interprètes, Direction Régionale  des Affaires Culturelles  d’Ile-de-France– Ministère de la culture et de la communication.

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Le chorégraphe signe un sublime et aberrant manifeste hédoniste où les danseurs vibrent tel un seul corps extra sensible.

Soma, du grec ancien : le corps. Soma, du nom aussi de cette drogue de synthèse présentée comme un simple médicament aux citoyens du Meilleur des mondes, la dystopie d’Aldous Huxley, mais qui les plonge en fait dans un sommeil paradisiaque, du genre à désamorcer toute forme d’insubordination politique. Penser à cette substance flippante et merveilleuse peut aider à se figurer l’atmosphère qui se dégage du plateau de Marco Berrettini, une des plus complexes, baroques, qu’il nous aura été donné de voir chorégraphiée : celle d’une secte de danseurs extatiques, sorte de corps vibratiles inexorablement émus de l’aberrante communauté qu’ils forment, laquelle semble tout droit jaillie des décombres rétrofuturistes d’un film de SF des années 70 (moquette crème, combis argentées, piano noir). Dans la salle fusent des exclamations mi-rire mi-effroi à mesure que les danseurs pénètrent nos regards de leurs yeux énamourés, puisque l’hédonisme se teinte ici de monstrueux, la joie de mélancolie – ne semblent-ils pas donner toute leur énergie pour une dernière danse? – sans que jamais la pièce ne délaisse sa valeur cardinale : celle du pur plaisir à communier comme un seul corps, de la même manière sur du funk ou sur Meredith Monk.

La comparaison avec la drogue de Huxley ne tient pas longtemps cependant. Sauf à les considérer tragiquement abrutis, et ainsi à lire cette pièce comme la satire d’une génération dépolitisée, par exemple. On préférera la voir comme une farce tantrique très politique, dans ce qu’elle dit de la liberté des corps à pouvoir s’harmoniser, de leur aptitude à se rendre extra sensible aux autres, autant qu’aux plus infimes vibrations de l’air, des plantes et des sons. Sa façon de revendiquer le droit de s’en extasier, avec cette irréductible étrangeté, fait d’elle une pièce magistrale que l’on aimerait voir tourner après sa création aux Rencontres chorégraphiques de Seine-Saint-Denis
Libération, Eve Beauvallet, le 24 mai 2018

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Cast & Credits

Creation 2017

Choreography and dance: Marco Berrettini
Music: Summer Music / Marco Berrettini and Samuel Pajand
Piano and voice: Samuel Pajand
Scenography and lights: Victor Roy
Costumes and accessories: Séverine Besson
Technical director: Pierre Montessuit
Administration and diffusion:Tutu Production – Pauline Coppée
Production: *MELK PROD. (CH) / Tanzplantation (F)
Coproduction: Association pour la Danse Contemporaine Genève – adc, BIT Teatergarasjen – Norvège / House on fire – Programme Culture de la Commission Européenne, Centre national de la danse, Pantin
Supports: Ville de Genève, Pro Helvetia, Loterie Romande, Direction Régionale des Affaires Culturelles  d’Ile-de-France – Ministère de la culture et de la communication, Fonds SSA

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iFeel4 opens with a solo trance that revives with the disco roots of Marco Berrettini, German disco dance champion in 1979, and a children-choir slowly detaching from the audience. On serial and lyrical pop music with a metaphysical and philosophical content, composed on piano by Samuel Pajand, the children’s choir begins, spins, regroups, sings and punctually covers masks recalling the Greek tragedy bathed in the cult of primitive mysteries and translated in the form of facebook-emoticons declined in the tints of the human aura. By successive steps, the figure of the child is here a source of energy which invites to dream, to create, to think.
From Victor Hugo (calling to the barrier of the Miserables by a people of children too often betrayed and repressed) to Rilke (“You must change your life” to meet the sublime), passing through Hesse (“Universe”), there are many influences. And it’s of great intelligence, for the one’s who remember Sorry, do the Tour! (2002), inspired by the “Opening Night” by Cassavettes, exploring aging, time passing, desire for dance and the envy of others.

Mystical and Sufi Asceticism
After a duet in side steps and bare busts iFeel2 and reinterpreted diagonals iFeel3, here is a solitary icon slipping a side step, turning 360 °. The pelvis is delicately fevered with funky groovy swaying, arms bring back the space to the performer like a throbbing heart, his look in the form of a plea addressed to the public to dance together. Its form and its subversion derive from the mystical asceticism and sufism. The movements vary at each turn their rhythm and amplitude, tending towards a frenzied desperation that is racing on itself, repatriating in a decelerated way the lines of body of Travolta in Saturday Night Fever. An invitation to the other that proceeds in small psychological and physical steps.

Bertrand Tappolet – Le Courrier, 5th April 2017

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Cast & Credits

Creation 2016

Choreography: Marco Berrettini en collaboration avec les interprètes
Interprètes: Christine Bombal, Nathalie Broizat, Sébastien Chatellier, Marion Duval
Music: Summer Music – Marco Berrettini et Samuel Pajand
Set design and light: Victor Roy
Costumes: Severine Besson
Sound: Nadan Rojnić
Set up fabrication: Victor Roy et Atelier La Chignole
Artistic consultant: Anne Delahaye
Administration and diffusion: Tutu Production – Pauline Coppée
Production: *MELK PROD. (CH) / Tanzplantation (F)
Coproduction: Association pour la Danse Contemporaine Genève – adc, Théâtre Vidy-Lausanne, TLH Sierre
Supports: un projet de coopération entre l’adc – Genève, Théâtre de Vidy Lausanne, FIT – Festival Internazionale del Teatro, Gessnerallee Zürich, Theater Roxy Birsfelden, TLH Sierre, dans le cadre du Fonds des programmateurs / Reso – Réseau Danse Suisse. Pro Helvetia – Pro Helvetia – Fondation Suisse pour la Culture, Ville de Genève, Loterie Romande, Direction régionale des affaires culturelles d’Ile-de-France – Ministère de la Culture et de la Communication

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Inspired by Atlas shrugged, the bookby Ayn Rand, I wanted to create a choreographic piece which questions our abilities to socialize, our ability to project ourselves into the future, near or far, our selfishness when it comes to protect ourselves and hide the fears that inhabit us.
As in previous pieces, like iFeel2 or Cry, iFeel3 is in line with a choreography in one movement, one breath, without a structure in several scenes or chapters. The idea is to truly live the choreography as a personal “ experience”, an action to complete, an exercise on oneself. And even if I do not share the idea of total surrender of state power in favour of the individual, as advocated by Ayn Rand, I find myself quite heartened by the concept that the individual must first act by and for himself. An invitation to get our own backs, to grasp the challenges of modern slavery, which are within us, above all. For us to rise, before lifting up the others.
iFeel3 is also the story of a rock band  : Summer Music, which signs its second musical creation for stage. Music is played live and tells, alongside the choreography, its own story; songs about the state of the world, citing many activists such as Noam Chomsky or Abby Martin.

Marco Berrettini

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Creation 2012

Artistic direction and conception: Marco Berrettini
Choreography: Marco Berrettini in collaboration with Marie-Caroline Hominal
Performance: Marco Berrettini, Marie-Caroline Hominal, Samuel Pajand
Music: Summer Music – Marco Berrettini et Samuel Pajand
Scenography and lighting: Victor Roy
Technical director: Thierry Court
Administration and diffusion: Tutu Production – Pauline Coppée
Production:  *MELK PROD. /Tanzplantation
Coproduction: adc Genève
Supports: Ville de Genève, Pro Helvetia, Loterie romande,Direction Régionale  des Affaires Culturelles  d’Ile-de-France– Ministère de la culture et de la communication, Ernst Göhner Stiftung

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Marie-Caroline Hominal is Raymonda, Marco Berrettini is Taylor. A dance begins…

After iFeel (2009) and its angers inside our modern societies, and Si,Viaggiare (2010) which was attempting to reset a communion between beings, iFeel2 displays the mutations, the evolutions, the metamorphosis that the individual and the social « bubbles » practice in real life. There is a real emerging need to once again ask the question : Why are we here, on this earth? And what value can we assign to the birth of life? I’ve been working with some texts and books from the German philosopher Peter Sloterdijk for many years. For iFeel2, I’ve selected «  You have to change your life » (« Du mußt dein Leben ändern« ), published in 2010. With this latest creation, I am coming back on stage and I reconnect with the movement, in collaboration with Marie-Caroline Hominal. The current dance extends from a certain desire of acrobatic virtuosity to some more spiritual streams flirting with psychoanalysis, religion and the search of inner consciousness, the Jungian shadow. Our performance is a mix of this multitrack life.
Finally, the music for iFeel2 has been created beforehand, by the more or less pop band, Summer Music, formed by Samuel Pajand and myself. We wanted to compose our own libretto, to choreograph from the music and not the opposite.

« iFeel2 draws its strenghts from our shadows with the certainty that this introspection will make us brighter… » Marco Berrettini

« Man deserves to care about himself for he bears in his soul the seeds of his own future.» Carl Gustav Jung

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