After ten years at the head of the “Museum of Dance in Rennes, the dancer and choreographer Boris Charmatz bid farewell Saturday to Britain with “The Rush”, which closes the Festival TNB (Théâtre national de Bretagne). Born of the History of France of Patrick Boucheron, professor at the Collège de France, The Rush presents itself as a lively exhibition” of this collective book to be successful. Most of the 46 chapters of this essay, which revisits the history of France under the prism of the interaction between the Hexagon and the world, have been entrusted to artists. To load for them to read, comment on and interpret some of the passages during three hours in all areas of the TNB.

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“It was a long time that we wanted to invade, friendly, TNB”, says Boris Charmatz, who evokes “a deployment of the book, as if we ripped out the pages, and in the precincts of the theatre, where the spectator will be free to go and come.” The TNB bathe for the occasion in the play of light of the creator Yves Godin. This epic show is coming to a close, the lively Festival TNB, a “precipitate of the season” that combines dance, theatre, cinema and plastic arts in a forty performances. “We wanted to give space to the proposals of the singular as The Rush , which perhaps would have struggled to be included in the season”, explains Arthur Nauzyciel, director of the TNB.

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“Very quickly, it has been considered as a museum – think-tank and the doors of the great museums are open”

Boris Charmatz, director of the Museum of Dance in Rennes (france)

Artist to international fame, Boris Charmatz is considered as one of the leaders of the “non-dance”, whose profession is to invest all types of public spaces and to break down barriers, such as Arthur Nauzyciel at the TNB, the boundaries between the arts. His move to Rennes, the dancer of 45 will remember “the amazing years”, which was renamed to its arrival “Museum of dance” the national choreographic Centre of Rennes. “I wanted to invent a new type of public space for the dance, which raises issues of collecting, museology, exhibition of the dance”, he explains.

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While at the time “nobody believed in this project”, “a catalogue on the Museum of Dance is now at the MoMA”, likes to tell. Boris Charmatz, in fact, is engineered to “open track” on what could be a “museum” of dance. In his show 20 dancers for the 20th century , presented in London and New York, the dancers perform a solo in the dance repertoire of the last century. “Each dancer is his own museum, is himself a living archive”, pleads the choreographer.

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If small Rennes have invested the Court of honor of the Festival of Avignon before presenting the show Child in Berlin, London and Amsterdam, Rennes will remember also of Crazy dance . This dance collective giant has met on three occasions during 12 hours approximately 16,000 dancers, amateur and professional, in the streets of the city.

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The choreographer also introduced in the city, the night, a dance “delusional” with improvisations verbal: Dance of the night . “Very quickly, it has been considered as a museum – think-tank and the doors of the major museums are open,” says the dancer, recalling that art museums “have become museums installations, films, and places of experiences.” Bring the contemporary dance in the street, go out to meet new audiences, such is the signature of Charmatz, who is poised today to become an independent choreographer, and will work for three years in the Hauts-de-France.

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The Festival TNB presents until Saturday, a dozen shows in multiple venues, including a psychiatric hospital. Among the highlights, a theatrical creation of the film-maker Christophe Honoré. During the festival, a hundred of programmers, foreigners were also able to discover a dozen French artists emerging.