compagnie
de danse ancienne
Bassa Toscana
Favola balla.
Renaissance, Baroque and Contemporary Ballet-Theatre
Directed and choreographed by: B. Jacquet, S. Quéant, Gudrun Skamletz and Camille Bonnardot
three dancers
a musician, singer and actor
duration: 45 min
1621: 400 years ago, the most popular of fabulists, Jean de La Fontaine, was born.
La Fontaine's Fables in dance, music, theatre and song.
The Bassa Toscana Company transforms fables into moving pieces, blending poetry, humor, and education. By combining dance across all eras, the two choreographic paths—historical and contemporary—reveal the timelessness of the texts. While resonating with courtly airs and daring to embrace an eclectic musical selection, Bassa Toscana's performance, drawing from the roots of the past, offers a contemporary concept, thus opening the way to a wide audience.
Favaola balla a reçu le soutien de la ville d'Auxerre, de l'association Les chantiers du théâtre de Villeneuve sur Yonne et du Conseil départemental de l'Yonne
A Mon Seul Désir
Renaissance Ballet-Pantomime
Evocation of the "Lady and the Unicorn"
Directed and choreographed by: B. Jacquet, S. Quéant
two dancers
three musicians
duration: 40 min
Inspired by the six tapestries of "The Lady and the Unicorn," the show "To My Only Desire" is a fantastical, musical, and dance-filled tale where reality and imagination intertwine. According to some theories, the Unicorn, a mythical creature, unites the material world (touch, taste, smell) with the spiritual world (sight, hearing). A young hunter, in search of an impossible quarry, seeks to capture the Unicorn, a symbol of purity and truth. As he approaches, the wondrous animal takes the form of a woman, awakening his five senses, those associated with earthly life.
Un Soir qu'Amour ...
Ballet-Pantomime Renaissance
mise en scène, chorégraphie : B. Jacquet, S. Quéant
six danseurs
cinq musiciens
un comédien chanteur
durée : 1h15
Dans son château du bord de Loire, une grande dame convie des amis à un bal, manifestation festive très prisée des nobles en ce XVIème siècle.
Un jeune seigneur se laissera séduire par les charmes des jouvencelles, provoquant rivalité et combat, propres à une société avide de gloire et d’amour. Mais rapidement, la poésie, l’émotion et la gaieté calmeront ces élans chevaleresques pour faire place aux joies de la fête.
Par la danse, la société de la Renaissance veut affirmer sa noblesse et sa distinction. Gavottes, volte, pavanes illustreront cette fresque historique délicatement associée à une vérité esthétique.
La Nymphe au Cœur Sauvage et le Berger
Renaissance Ballet-Pantomime
based on the pastoral “Aminte” by Le Tasse
Directed and choreographed by: B. Jacquet, S. Quéant
Text adaptation: C. Lapeyre
two dancers
a musician
an actor
duration: 45 min
Love hides and waits. But isn't that the truth of Love? I always conceal myself, I elude sight, and I advance masked. I am never where I am expected. I am hoped for, feared, sometimes fled from. Alas, for you mortals, I am always victorious over all laws. Sylvie, nymph of Diana, once had a cruel experience of this. Aminta, with a wounded heart, lamented. He loved Sylvie, and was not loved in return. She, the nymph with the wild heart, dreamed only of deep forests, of hunts and prey vanquished by bow and arrow. Nothing could move the heart of the beautiful Indomitable One.
Arlequin et le Miroir
Ballet Renaissance - Commedia dell'arte
mise en scène, chorégraphie : B. Jacquet, S. Quéant
deux danseurs
trois musiciens
durée : 45 min
Le canevas de ce ballet dans l'esprit de la Commedia Dell'arte est une Arlequinade. Sous différents masques, le danseur exprime le caractère bien défini des personnages de cette forme de théâtre italien, né en 1545. Colombine, repoussant les avances du triste Pantalon, trouve auprès du rusé Arlequin le dénouement heureux d'un mini drame. En effet, le Capitan, l'épée à la main, hélas tremblante, a perturbé, par ses frasques, le quotidien de Colombine.
«La Belle Danse» du bal au théâtre
Ballet Baroque
mise en scène, chorégraphie : N. Nguyen
quatre danseurs
quatre musiciens
durée : 1h15 min
Bal Renaissance
Renaissance Ball
Dancing masters: B. Jacquet, S. Quéant
two dancers
at least three musicians
Duration: 1 hour 30 minutes
"Dance is dependent on music and its modulation, which is one of the seven liberal arts; for without rhythmic virtue, dance would be obscure and confused; especially since the gestures of the limbs must accompany the cadences of the musical instruments and the foot must not speak of one and the instrument of another." Thoinot Arbeau.
The dancers from Bassa Toscana, accompanied by musicians and following a demonstration of pavanes, galliards and voltes, invite the public, who become actors, to a festive and playful moment typical of the Renaissance ball.
During the ball, the repertoire of 16th-century "dance music" and Thoinot Arbeau's Orchésographie find their raison d'être in the lively and contemporary experience of the practice of dance, for initiates or beginners, in costume or not.