After her choreographic creations dedicated to the Dame à la Licorne and L’Apocalypse tapestries in Angers, Gaëlle Bourges presents this new adventure dedicated to the Bayeux tapestry, premiering at the festival. To bring to life through movement these 70-metres weave dedicated to the conquest of England by William the Conqueror, between wood and cardboard, the dancer and choreographer will combine dance, music, voice-over, medieval history and modern day’s perspective. This episodic narrative series, which is both playful and academic in its effort to change the way we look at a work of art, is for young and old alike.
After her choreographic creations dedicated to the Dame à la Licorne and L’Apocalypse tapestries in Angers, Gaëlle Bourges presents this new adventure dedicated to the Bayeux tapestry, premiering at the festival. To bring to life through movement these 70-metres weave dedicated to the conquest of England by William the Conqueror, between wood and cardboard, the dancer and choreographer will combine dance, music, voice-over, medieval history and modern day’s perspective. This episodic narrative series, which is both playful and academic in its effort to change the way we look at a work of art, is for young and old alike.
BIOGRAPHY
> GAËLLE BOURGES (France)
Born in Boulogne-Billancourt to the south east of Paris in 1967, dancer and choreographer Gaëlle Bourges began training in classical dance from a very young age, before moving on to modern jazz, tap, commedia dell’arte, clowning, drama and striptease for erotic theatre. She has a master’s degree in performing arts and somatic education. From 1999 onwards, she wrote three plays for the Compagnie du K before founding the Groupe Raoul Batz for her performances. Her first solo (L’âne), followed by Strip, Je baise les yeux, La belle indifférence and Homothétie 949, question the way we look at the naked body, especially the female body. An artist associated with a number of National Choreographic Centres, her work has since focused on the history of art and the critical history of representations: Vider Venus (2009), À mon seul désir (2014), Revoir Lascaux (2016), Conjurer la peur (2017), Le bain (2018), Incidence 1327 (2017), Ce que tu vois (2018), Confluence (2019), On va tout rendre (2020), Laura (2021), Loulou (2022), Austerlitz (2023), Juste Camille (2024) and La petite soldate (2025).
