Bitef

Kao predan partner grada Orleana i Kare Sen-Vensan, Narodnog orleanskog pozorišta, od 1988, i njegov pridruženi koreograf od 1990. godine, aprila 1995. godine imenovan je za direktora Narodnog koreografskog centra u Orleanu. Struktuirana i okupljena oko ovog umetničkog centra, trupa je sada ukotvljena i sa raznim ljudima angažuje se u "manjim jedinstvenim poduhvatima". JOSEF NADJ Josef Nadj was born in Kanjiža, a smalltown of the Vojvodina province, squeezed into a Hungarian enclave of former Yugoslavia. As a child, he liked painting. As a teenager, he studied at the Art School and at Budapest University where he started attending drama classes, more or less by accident, without giving up material arts. Following his master's advice, he Left Budapest for Paris, where he arrived in 1980. Having originally planned to be on the stage, he discovered dancing and soon started sharing the world of Ballet of Mark Tompkins, Catherine Diverres or Francois Verret, while at the same time carrying on with his own work amidst ceaseless coming and goings between France and Hungary. In 1987, the creation of his first play Canard Pékinois (Mandarin Duck), inspired form memories of the village where he was born, immediately put him on the hot seat, arousing enthusiasm and giving rise to a question that has not been answered yet; ballet dancing... or theater...? In 1988, he created 7 peaux de Rhinocéros (Seven rhinoceros skins), followed by La mort de l'empereur (The death of the Emperor), Comedia Tempio, in 1990, Les échelles d'Orphée (The scales of Orpheus) in 1992, Woyzeck and L'anatomie du fauve (The anatomy of the wildcat) in 1994, and finally Le cri du Caméléon (The call of Chameleon) in 1995 for the Centre National des Arts et du Cirque (French national Centre for Arts and Circus). Committed since 1988 into a faithful partnership with

the city of Orléans and the Carré Saint-Vincent, Orléans national stage of which he became an associate choreographer in 1990, he was then appointed of the Centre Choréographique National d'Orleans in April 1995. Structured and drawn closer around this art centre, the company is now anchored at the heart of the city and committed with various people into minor singular ventures. JOSEF NADJ Répertoire 1987 - Canard pékinois 1988 - 7 peaux de rhinocéros 1989 - La mort de l'empereur 1990 - Comedia Tempio 1992 - Les échelles d'Orphée 1994 - Woyzeck 1994 - L'anatomie du fauve En coup de maître Né á chorégraphie en 1987, Josef Nadj ne s'embarrasse pas de ces coups d'essai qui signalent l'esprit tactique et la manière prudente; d'entrée de jeu, il donne Cannard pékinois en guise de première coevre: un coup de maître qui, cependant, l'expose aussitôt á ces anathêmes qu'aiment jeter les "fondamentalistes" de La danse, quand la danse est, par eux, soupçonnée de mésalliance. La danse de Josef Nadj symathise avec le théâtre Il este exact, dés Canard pékinois, la danse de Josef Nadj sympathise avec le théâtre pas même le théâtre des mots: pire: celui des saltimbanques. Elle symphatise avec la musique, celle des kiosques et des fanfares et, encore, avec le cinéma muet. Le kaléidoscope, la