QUASIMODO /ESMERALDA
Beyond appearances, the dream of an encounter
L’EQUIPE EN TOURNEE :
Antoine LE MENESTREL : Danseur de façade / Chorégraphe
Claudie GATINEAU: Danseuse de façade / Chorégraphe
Jean Luc BICHON : Comédien / Régie sol
Alexandre CINQUINI : Comédien /Accordiste
Grég VERA : Direction musicale
Valy MARTINEZ : Régie de tournée / Costume
AU CAMPS DE BASE :
Chani BAUZA : Musicienne
Séverine GROS : Administration
Denis LAVANT : Voix OFF
Marie-Laure PESSEMESSE : Regard extérieur
Marie -Lys POLCHLOPEK : Musicienne
Ramora : Costumière
2025
17 MAI : Parc éolien d’Andilly les Marais (17) – Services à tous les étages
21 MAI : Festival TAC – Valladolid (Espagne) – Quasimodo / Esmeralda
22 MAI : Festival TAC – Valladolid (Espagne) – Quasimodo / Esmeralda
14 JUIN : Bondy (93) – Lignes de Vie
11 JUILLET : Loudenvielle (65) – Services à tous les étages
23 JUILLET : Saint Saturnin les Apt (84) – Quasimodo / Esmeralda
01 AOÛT : Lignes de Vie – Stockton International Riverside Festival (UK)
02 AOÛT : Lignes de Vie – Stockton International Riverside Festival (UK) –
22 AOÛT : Lignes de Vie – Londres (UK)
30 AOÛT 18h15 : Lignes de Vie – Nanterre (92) Inauguration quartier LES GROUES
LIGNES DE VIE
Walking performance for 5 dancers-tracers with architecture as choreographic score.
Videos from LIGNES DE VIE : at Greenwich+Docklands International Festival – Londres (2024 – ©Shaun Evelyn/GDIF), Maroc (2024), Igualada ( Espagne 2023), Valladolid (Espagne 2022), Barcelona (Espagne 2023), Chalon sur Saône ( France 2022), Grenoble (France 2021).
A renowned climber, Antoine Le Menestrel left his professional climbing career thirty years ago to focus on artistic and poetic expression.
His body language is that of verticality.
The Compagnie Lézards Bleus creates innovative and hybrid facade dance performances (or climbing dance, vertical dance), constantly adapting to each architectural setting and human context.
His performances contribute to transforming the way we view urban and natural spaces.
Antoine Le Menestrel’s choreographies convey emotions and spark the imagination of the audience.
Always high up, the artists peacefully put their lives on the line to reveal their fragility.
He creates aerial dance climbing shows on buildings and monuments, and is also a poet in his spare time.
What mark will we leave on our lives?
What if the responsibility for that mark brought additional awareness to the present?
The Dancer-Traceurs change the way we see the city.
Like “wild children,” they break free from codified movements.
“Tracing” means being creative, adapting to urban architecture, drawing on fraternity, creating empty obstacles that deepen, leaving traces or poetic signs in the air, on walls, on the ground, on a face.
This wandering performance reveals the architectural score.
The bodies that inscribe themselves in space construct images that transform our vision of the place.
This poetry of “risk” is constantly being reinvented and resonates with the life journeys of residents and spectators. Traces encountered in situ, in vivo.
It also highlights the values upheld by these “tracers.”
The Lézards Bleus company is committed to supporting them, accompanying them in an artistic and professional voice that is at odds with the new sporting and competitive orientations of Parkour practice.
SAFETY TO LAST
Contemporary creation for one dancer on the façade and five artists from the host region.
40-minute evening version
Tribute to Harold Lloyd
A century after the brilliant Harold Lloyd climbed the facade of a Los Angeles building with his bare hands, a performance is repeating the feat on your facades.
The scene has become iconic: a little man in a black suit and hat hangs by his arms from the hands of a giant clock on an American skyscraper.
With Safety Last!, released in 1923, the burlesque Harold Lloyd became a legend.
A hundred years later, Antoine Le Menestrel pays tribute to an actor who has always been a source of inspiration for him.
Imagining a vertical choreography adaptable to a specific architecture and event, and like the hero of the film finding a neighbor floor by floor, he will meet an artist from the area on each level.
Distribution – Version 30/11/2023 – Cannes :
- ANTOINE LE MENESTREL – Chorégraphe et danseur de façade
- GREGORY VERA – Concepteur sonore
- MARCIA BARCELLOS – Cannes 2023 – Chanteuse
- CLAUDIE GATINEAU – Cannes 2023 – Acrobate équilibriste
- JEAN-CHRISTOPHE BOURNINE – Cannes 2023 – Contrebassiste électro-acoustique
- ANTHONY DENIS – Cannes 2023 – Danseur Traceur
- LOUP FRHEAVEN – Cannes 2023 – Danseur Traceur
- SAMSON MILCENT – Créateur lumière
- OLIVIER DOBEL-OBER – Accordiste
- JEAN-LUC BICHON – Régisseur
Avec le partenariat : Cinéum – Cannes
DRAC PACA – Rouvrir le monde, été culturel 2023 – Région SUD : Action spécifique – SPEDIDAM : Aide à la bande originale – Ville de Saignon (84) : Accueil en résidence – Pays d’Apt en Luberon – CCPAL : Aide à la résidence sur le territoire – Diacosmie – Opéra de Nice : Prêt de costumes
Avec l’accompagnement de : Susanne Lloyd et Harold Lloyd Entertainment, Inc.
Crédits photographiques : Nathalie Sternalski
Teaser : Réalisation Olivier Meissel | Captations Ambre Faiz, Christelle Brusini, Elsa Lecocq, Gautier Bartoli, Julien Landra, Lovro Vucinic, étudiants ESRA-Cannes.
DESCENSIONS
Loyalty to the body and to the earth.
Facade dance, parkour, text, lyrical and musical creation moving from the outside to the inside,
offer “a descent that is not indecent.”
A philosopher and poet as guide and companion: Nietzsche
After his show “La dictature du Haut” (The Dictatorship of the High) and inspired by his rereading of Friedrich Nietzsche’s Thus Spoke Zarathustra, Antoine Le Menestrel wanted to continue his artistic exploration of the invention of a new imaginary world around descent, in resonance with this text and the ideas it evokes.
“This show is a stroll through the inner streets of the ‘theater’.
From the top of the roof, we invite the audience to enter and appear in the lobby, then take over the stage and auditorium space and invite the audience to come down on stage in order to exit through the set entrance.
As in street arts, we recreate the show with architecture as a choreographic score.
The walls between the exterior and interior are our spaces for expression.
The “theater” is a cube with six stages. We are the family of live performance.
We rope ourselves together to connect the top and the bottom, sport and art, we dance to connect street arts and indoor arts.
We combine vertical dance, climbing, and parkour. The vocal cords sing and the words are poetic.
These worlds allow us to bring together different audiences, both children and adults.
Antoine