Cyril Baldy is a dancer and choreographer. Born in Woippy France in 1980. He studied at the Conservatoire National Supérieur de Musique et de Danse de Paris from 1993 to 1997.
As a dancer he joined his first professional company in 1997 named Jeune Ballet de France. From 1998 to 2002 he successively was part of Nederland Dans Theatre II and Nederland Dans Theatre I under the direction of Jiri Kylian. In 2002, he became a member of Frankfurt Ballet than The Forsythe Company in 2005 under the artistic direction of William Forsythe. In 2014, he started his new part of his career as a freelance artist and choreographer.
As a choreographer he made his debut in a collaborative work named HUE commissioned by The Forsythe Company. He successively, develop a performance technic named Spanging The Berg Or The Theory of Whatever and created 3 derivative works named If I had know it would come to this, If I had know it would come to this again and O?. In 2014, Cyril was invited to be artist in residence together with Tilman O’Donnell at Centre Choreographique Circuit-Est / Goethe Institut Montreal. In 2016 he made Whatever Singularity #327: These & Those & Upon Us at the Den Danske Scenekunstskole, WhatevernessSingularities at the Goethe Institute in Montreal and GOLD commissioned by DSS2016 in San Sebastian.
His latest work entitled VARIATION(S) was presented at PACT Zollverein in April 2017.
In addition, Cyril is artistic director of SAD, and a member of HOOD.
JANUARY 16/20 - WORKSHOP DANSCENTRUM
FEBRUARY 2/4 - IN ACT AND THOUGHT
MARCH 29 - ONE FLAT THING REPRODUCED - WILLIAM FORSYTHE
APRIL 4-29 - HOOD RESIDENCY @ PACT ZOLLVEREIN
APRIL 21 - ATELIER HOOD: PREMIERE: VARIATION(S)
MAY 15 - JUNE 2 - PARTS
AUGUST 27 - SEPTEMBER 4 - REGGIO CALABRIA
HTCTW #1 // HTCTW #2 // HTCTW #3 // HTCTW #4 // HTCTW #5 // HTCTW #6
GOLD by Sad
THIS IS (NOT) RAYMONDA BUT WHATEVER IT CONTAINS
IF I HAD KNOWN IT WOULD COME TO THIS AGAIN
IF I HAD KNOWN IT WOULD COME TO THIS
SPANGING THE BERG
The life long endeavour is to keep on dancing. This venture immediately raises the following question: How to keep on dancing? My answer would be: To keep on dancing while suspending fixity of codification in dance, its practice, its choreography and its performance. Resisting and re-forming their previous definitions to allow change (or something other to happen).
To do so, a framework must be proposed in which change is a possibility. Change not as a result but as a procedure. The procedure of verification of change itself and its consequences.
The overall construction of this framework aims to find a physical practice for choreography and performance that is neither concerned with the composition of movements in time and space nor using dance to illustrate an idea or a concept, but with the relations which weave between movements together as the source of material for this dance.
Theses in-betweens, or relations, are composite of what I call raw materials. These raw materials, are what constitute the body, the stuffs it is made of, its physicality, its effects and affects before there forms of appearance are determined, before the premise of their discourse and interpretation, and the definition of what is worthy is fixed.
These relations are understood as particular deviations from the norms. They have been render unimportant relative to a particular conceptualisation of dance. From a broader perspective, what is render unimportant in one framework of knowledge may turn out to be the departing point of a developing new/other framework of knowledge.
How to get out of the way of our own dancing though these in-betweens. We will ourselves to be the medium for these raw materials for a dance to appear, rather than having dance to be a medium for ourselves to appear. Taking the idea of medium one step further, we will work on the invisible things that these dancing raw materials makes visible.
Knowledge is the common agreement of what is repeatable and transmittable.
Practice dancing to invert this logic.
Dance entails dancing through the world while affirming “It can certainly totally could also be that”.
Do this before definitely totally indefatigably saying “No way ever, no no, that cannot be, uh uh, can’t be”.
Use knowledge to do so. (Mine, Yours, Everyones) Keep repeating andtransmitting and repeating and transmitting as infinitum (see what happens)
Statement from Cyril Baldy(Choreographer), Tilman O’Donnell(Choreographer), with reference to Alain Badiou (Philosopher).
Contact Improvisation Technic with Akira Hino, Tokyo Japan
D.A.N.C.E (Dance Apprenticeship aCross Europe), Dresden, Germany
Masterclass K3 | Tanzplan, Hamburg, Germany
Tanz Tag, Frankfurt, Germany
University of Roehampton, London, UK
Mark Morris Dance Center, New York City, USA
Universidad San Fransisco de Quito, Quito, Ecuador
Tanz Biennal 4, Dresden, Germany
Ballet Summer School Carcasonne, Carcasonne, France
Atana Kulturstiftung Project, IGS Nordend, Frankfurt, Germany
Palluca Hochschule für Tanz Dresden, Dresden, Germany
HfMDK Frankfurt, Frankfurt ,Germany
DOCH, Stockholm, Sweden
HZT, Berlin, Germany
National Youth Dancer Development, Beijing China
HUBBARD STREET DANCE, Chicago, USA
STRUT DANCE - The National Choreographic Centre - Perth
DEN DANSK SCENEKUNSTSKOLE - Copenhagen - Danemark
BALLET DE LORRAINE - Nancy - France
DANSCENTRUM STOCKHOLM - Stockholm - France