MICHAEL CLARK COMPANY

COME, BEEN AND GONE

[EN] come, been and gone is made primarily to the music of David Bowie. It also embraces the work of his key collaborators: Lou Reed, Brian Eno and touches on some of his influences: The Velvet Underground and Kraftwerk amongst others.

"Rock is my rock. It has been vital to me at a personal level; it has shaped me as an individual as well as an artist." Michael Clark

Michael is no stranger to exploring modern rock music through dance. Clark's company exploded onto the world stage at the Riverside Studio, London 25 years ago in response to Mark E. Smith's clarion call:

Hail The New
Puritan
Righteous Maelstrom
Cock One!

Michael Clark choose to become a choreographer believing that actions speak louder than words. He creates work which combines his classical integrity with a more complex, contemporary sensibility embracing virtue and vice, abandon and control, grace and embarrassment. He is renowned for his legendary collaborations with bands, fashion designers and visual artists including Wire, BodyMap, Leigh Bowery, Trojan and Sarah Lucas. The costumes are by Clark regular Stevie Stewart, with lighting by another familiar name to
Michael Clark audiences, Charles Atlas. Dancers include Kate Coyne (a Spotlight winner at the 2008 National Dance Awards), Melissa Hethrerington and Simon Williams.

» This wonderful, full-blooded work becomes a celebration of life itself, a quasi-autobiography that cleverly avoids being too obvious.
Sarah Crompton, Daily Telegraph

» [...] an outrageously gorgeous piece of modern dance.
Luke Jennings, The Observer

[FR] Après un premier passage remarqué au Luxembourg en 2008, Michael Clark, l'enfant terrible de la danse britannique, nous revient pour une soirée dédiée à David Bowie, Lou Reed, Iggy Pop, Brian Eno, The Velvet Underground, Kraftwerk et Nina Simone. Un retour aux sources assumé par cet artiste: «le rock est pour moi fondamental, viscéral, il m'a construit en tant qu'individu avant même d'influencer mon travail artistique». Les danseurs de la compagnie évoluent dans des poses angulaires, tiraillés entre le classique dont Clark a toujours magnifié la rigueur et les sons modernes sur lesquels ils dansent. come, been and gone: un retour vers le passé, celui d'une époque sexuellement libérée et ambivalente à l'envi; un retour, aussi, vers les propres démons addictifs du chorégraphe.

» Es ist immer noch faszinierend zu sehen, wie der Choreograph die Extreme zusammenzwingt: Ordnung und Anarchie, Kontrolle und Exzess.
Der Tagesspiegel