Vertèbre - Press

Creation on 21st November 1989, Festival Toulouse / Barcelone / Bruxelles Danse 92 - Théâtre de la Digue, Toulouse

 

"A chair and a dancer - recurrent motif in dance-theater. Not often; however, has it been used in so many variations, with so much penetrating strenth and such aptness. Each figure in this fantastic play sith form and movement has formidable accuracy and is a real dramatic treat."
Martina Peter-Balaender, Ballet  enternational, September 1992

“And, it not being forbidden to fall for something, true aficionados must see Michèle Noiret, another one of those red-blooded little Belgians, whose Vertèbre shows us evolutive, mastered dancing, reminiscent, as to its form, of the grand ladies of the German Expressionism."
Marcelle Michel, Libération, 21 October 1991



“Michèle Noiret, whose presence on the stage is prodigious, has an incredible emanation: each look, each movement of the hand, however tiny, "comes accross."
Rita Henss, Frankfurter Allgemeine Zeitung, 8 May 1991


Encore! Dance-theater 'TANDEM' at the Frankfurt Monsonturm.
Michèle Noiret's style is filled with imposing energetic brio and bears witness to an atheltic technique which has her reaching a mind-boggling level of expression, the sublest nuances, perfect finesse and incredible sensitivity. The lightest, frailest gesture acquires weight and meaning and pleases with its extraordinary accuracy...et is simply splendid!"
V. Studtrucker, Main-Echo, 8 May 1991



Birdman in a sparrow's frock
“One is reminded of the paintings of Max Ernst and René Magritte: a birdman, black wearing a sombre coat, his face hidden, wraps his coat around him like in a cloud, stretches out his arms and legs, curls up on a chair in the middle of the stage, tries hard to fly, keeps his balance; One witnesses dance movements of incredible precision, executed in a drastically reduced space, with a virtually breathtaking technique.
Michèle Noiret has introduced the public to a new type of multifaceted dance theatre at the 'Factory' dance festival.”
Juliane Sattler, Hessische Allgemeine, 27 Juin 1992 -  Dokumenta 1992 - Kassel


A curtsey to...
No exaggerated use of derision, cynicism or inuendo here. en order to hgrab her audience, choreographer-interpreter Michèoe Noiret from Brussels generously displays all the facets of her imagination, all the metamorphoses of her body. 'Alone, one cannot but come face to face with oneself one day, leave the retreat of one's habits, stretch out in space in an effort to measure one's strength and occupy one's own place', thus this surprising artist, who has managed to steer clear of all fads. en the centre of the stage, lit by two rays of light, finer than gossamer, Michule Noiret grows increasingly 'luminous' as the thirty minutes of her rituel of joy progress ?
en the first part of her solo, wearing an enormous black coat, long black gloves, a black beret, hooked in every sense of the word to her chair like an insect, she portrays a fantastic hybrid creature, Perfectly dosed, slow-motion gestures, electro-acoustic music, play of light with dramatic effect. This agonizing dancer fascinates without ever becoming 'demonstrative.' Emotions explode as she finally moves away from her chair to throw herself into space with astonishing ardour and precision, before tumbling violently, turning on her own axis, dashing into the void, her head, hands legs uncovered now.
This solo, plished like a princess's siolitaire, indeed was the Vertebra of 'Temps-Danse '91' that night at the Châtillon Theater? The public, surprised to discover such bodily, motive happiness in conteporary dance, truly applauded from the heart."
André Béchin, Les Saisons de la Danse, 15 December 1991


 

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