Битеф

-symmetrically-to be able to recreate elsewhere, in the studio or on stage, the feeling of this space. Last Landscape Created in duet and in intimate correspondence with the percussionist VladimirTarasov, Last Landscape \s in some ways the "spirit of a site". It is an echo and reflection, by means of drawing, movement and sound of an experience that arises from interior necessity - the intimate experience of a return to sources. But it is also a landscape, an evocation of a natural setting in ail its varied states, and the restitution of a creative journey, condensed and projected into the present with the representation of a real space and a mental space, a multiple landscape, visual and audible, that is composed and decomposed on stage while it is tracing its own traces. Finally, reflection conducted by a choreographer about movement and its origin. Last Landscape also comports references to cycles - nature, seasons, artistic creation - in other words, to perpetual motion and the notions of fading away and renewal. The project Last Landscape encompasses both the stage piece described here, for a dancer and a musician (premiere at the Festival of Avignon in 2005), and also a film, Last Landscape - Josef NadJ by Josef Nadj (52 minutes - 2006), which will present in parallel the piece and its underpinning, in other words, its genesis, its sources and its process of creation. Myriam Blœdé JOSEF NADJ "Since the moment 1 discovered that a person climbing on stage creates a paradox, a mystery that remains indecipherable, I have fastened myself to this theatrical space. But what is it in this space that captures my attention? - The subtle relationship created between living bodies. The image of the body. First an image, not in the pictorial sense, but rather the image that comes into being based on a purely corporal sensibility - which often results from ambiguous situations, from a certain veiled thought process. But from what depths surge movements capable of creating this language, so familiar and yet so strange, that we share the moment the curtain rises? What is this language speaking about? - Perhaps of a certain truth hidden behind ail our masks and behind all our gestures, a truth about which man more voluntarily remains silent." Josef Nadj Josef Nadj, French citizen, was born in 1957 in Kanjiza, in Vojvodina, a region of ex-Yugoslavia. Fie attended art school and the University of Budapest where he studied art and music history. At the same time, he took classes in wrestling and martial arts and studied self-expression by way of movement and theater classes. On the advice of his drama teacher, he left Budapest for Paris, where he arrived in 1980. Fie studied at the Ecole Internationale de Mimodrame de Marcel Marceau from 1980 to 1982, then from 1982 to 1983, at the school of Etienne Decroux. At the same time, he took dance classes from Yves Cassati and Larri Leong, as well as with Japanese dancers. Fie discovered the choreographic universes of several choreographers, taking part in their pieces - Sidonie Rochon's Papier froissé, Mark Tompkins' Trahison man, Catherine Diverres' L'arbitre des élégances, and François Verret's Illusion Comique and La (commissioned by the GRCOP). 1983 to 1988 taught dance for the contemporary dance association Graffiti at Aulnay-sous-Bois (Seine Saint-Denis) 1986 founded his company Théâtre JEL 1987 creation of his first piece Canard pékinois 1988 first residence at the Centre de Production Chorégraphique of Orléans 1989 residence at the Quartz in Brest 1990 became "associated creator" of the Centre de Production Chorégraphique of Orléans for three years 1991 directed the film Tractatus bestial, during a residence at theTNDI at Châteauvallon 1994 residence at theThéâtre National de Bretagne in Rennes Since 1995, Josef Nadj has been the director of the Centre Chorégraphique National d'Orléans EXHIBITIONS In November 1996, in parallel with his choreographic work, Josef Nadj presented his first exhibition. Installations, consisting of a series of sculptures created around the notion of time, at the Carré Saint-Vincent-Scène Nationale of Orléans. This exhibition constitutes above all an area of meditation, provoking a wider reflection on the body of his choreographic works. These sculptures, along with drawings and photographs, have since been shown at theThéâtre Vidy in Lausanne in December 1997, at the Centre Culturel Jean Gagnant in Limoges in January 1998, at the Galerie du Lys in Paris in March 1998, and at the Phénix de Valenciennes in February 1999.