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Jean-Yves, Patrick et Corinne 2 - Jean L


It's undoubtedly the kitsch bombshell of the Hivernales and if you follow us, you know it, we're melting for offbeat pink! The ÈS collective has a lot of fun trying to put on an “original” dance show. So what ? It gets there.

This collective is associated with the subsidized scene La Rampe, La Ponatière-Echirolles and operates in the Auvergne-Rhône-Alpes region. It is made up of Sidonie Duret, Jeremy Martinez and Emilie Szikora. He is currently presenting and working on several creations that cross punk, lotto or the heady Despacito.  This sets the frame!


For this piece which dates from 2017, Jean-Yves, Patrick and Corinne,  the trio is in fact a quintet which evolves only at three (you follow?). Adriano Coletta, Sidonie Duret, Jeremy Martinez, Alexander Standard and Emilie Szikora are therefore wondering. How to make an original piece? It's true, everything has already been done, Pina and Cunningham are no longer there. So what ?


In little layette shorts or in Véronique and Davina's outfits, the dancers question heritages with biting humor. The contact dance takes it for its rank, pinched nose and drawn legs. Always on/in each other, they evolve by being interchangeable. In references worthy of the best karaoke, the collective reiterates its (legitimate) passion for Whitney Houston. In 2016, he created a piece called I wanna dance with  somebody… yes yes.  


So here, we listen religiously to these pop hymns, we burst out laughing at a muscular but always (very very) smiling aerobics performance. These excellent dancers with solid foundations have well digested their big gaps and their postures to make it seem like crazy grammar. It's actually very fine on the difficulties of being modern today and rethinking the great figures of the 80s. Everything is too much here. The arms too bent, the hips too offset, the legs too lifted, the teeth showing too much… And in short… it's too good!

Amélie Blaustein Niddam


Collectif Es-Christian Rausch - 34.jpg


Between the originality of the improbable and the freedom not to fall short of perfection. A play on paradoxes, which maintains a refreshing tension.

With Jean-Yves, Patrick and Corinne, the three Lyonnais choreographers of the Collectif ÈS (Sidonie Duret, Jeremy Martinez and Emilie Szikora) deliver a trio... For five dancers. A lively piece, where contemporary dance and aerobics mingle in a paradoxical and magnetic whirlwind.

Jean-Yves, Patrick and Corinne (2017) is a choreographic trio. But for five dancers. Because it's kind of one of the cornerstones of the Collectif ÈS (Sidonie Duret, Jeremy Martinez and Emilie Szikora): creating tension between the intimate and the impersonal; singularity and interchangeability. With Jean-Yves, Patrick and Corinne, the Collectif ÈS thus signs a creation drawing on the triple. Like the title, there is the ambiguity of knowing whether the register comes from the greatest complicity or from a standardizing distance. Jean-Yves, Patrick, Corinne… Three first names worn by hundreds of thousands of people, but perhaps designating beings so close that their name can be obliterated. Because even without him: impossible not to recognize them. Some great artists have this privilege, such as Leonardo. Articulating three first names and three concepts (original, new, authentic), the piece combines contemporary dance and aerobics.


— Jean-Yves, Patrick and Corinne from Collectif ÈS: a choreographic trio for five


Where do these three concepts come from? From a quote mentioned in the play. “If you want to be a choreographer, your entourage, the environment says then, do something original, new, authentic. These words are from Jerome. Is it one of the dancers? The piece is performed by Adriano Coletta, Sidonie Duret, Jeremy Martinez, Alexander Standard and Emilie Szikora. And how to respond to this triple artistic constraint, with its injunction of freedom? The Collectif ÈS opts for aerobics. With his over-enthusiastic dance, his precise, timed gestures, and his group vitality. Totally impersonal, this dance is also that of the ultra-personal. Practiced by imitation in a group on the beach or alone in front of the television, aerobics reflects an entire era. And through its appropriation mixed with contemporary dance, the Collectif ÈS reveals both its oddity, but also its incredible vitality, its virtuosity.


— Contemporary dance and aerobics: when originality nestles in the uniform


The Jérôme of the quotation is the choreographer Jérôme Bel in Le Dernier spectacle (1998). And the three first names in the title Jean-Yves, Patrick and Corinne each have the same surname as one of the choreographers. Their parents, maybe. But this is not the decisive point. In this erased identity, or brought back to its simplest expression, the one that obliges to pay attention to understand the relationships, one of the articulations of the piece is played out. That of plagiarism. learning by imitation. Or simply the phenomenon of mimicry with its share of error and variations, which structures any collective. On a bare stage, in flamboyant aerobics outfits, the five performers string together energetic sequences and astonishing trios. Between the originality of the improbable and the freedom not to fall short of perfection. A play on paradoxes, which maintains a refreshing tension.


NOVEMBER 22, 2014


"Finally, laughter and lightness with the Collectif Ès and their piece with an impossible name: "hippotomonstrosesquippedaliophobia" which very rightly won the Audience Prize. The fears and obsessions that revolve around phobia are the main angle of this little piece which unfolds in a frenzied rhythm full of humour. Sidonie Duret, Jeremy Martinez and Emilie Szikora give their all, dare everything with perfect mastery of their dance."

Sophie Lesort

Jean-Yves, Patrick et Corinne 3 - Jean L


Making people laugh while dancing is certainly one of the most delicate arts. Jean-Yves, Patrick and Corinne an irreverent feat that blows an invigorating wind on our habits as spectators. 

Jean-Yves, Patrick and Corinne is a trio for five dancers. Figure rarer than the pas de deux or the group dance, this one traditionally allows any kind of interpretation. Is it a couple that is torn apart by the presence of a third party? Is it, on the contrary, a love trio? A last fragment of humanity to live together? Here, no philosophical interpretation possible, nor even fictional, it is pure, raw dance, devoid of artifice that the collective ÈS offers.


— Aerobics as a Fine Arts


Expressed twice, the injunction of the "dance community" to do "new, original and authentic" is the keystone of the show. How to renew? How to show, and especially to an audience of regulars, what he has never seen? The ÈS collective plays with us by pretending to give an answer with choreographic practices that have no place on the stages dedicated to dance. If the urban dances are convened here, they are not those that we expect, and that we see, usually on the dance sets. No question here of hip-hop, break dance or battle. The ÈS collective invests  rather in lap dancing, aerobics or even the choreographies performed by the troupes that accompany the pop singers. The series of abdominals, the clapping of the hands to set the rhythm, the races on the spot arms in the air in a V, all the vocabulary of the dance class in a fitness club is declined here. But with a sense of humor and a distance that borders on joyful insolence, so much is it executed with precision, energy and seriousness.  We are then surprised to think that we forget to look at these danced practices as, precisely, dance, and that we have reduced them to a sporting practice. With a smile on their lips, another injunction of our time, the five dancers of the troupe set off headlong into a mad race fed by tangled diktats: physical performance, apparent lightness, submission to the group at its own pace and its codes. The trios follow one another and are always under surveillance, one of the other dancers, off stage, watches them like a lookout watching over the perfect execution of the gestures.  


— Under a smile, the performance


The main strength of the choreography lies in its holding, its lengthening, in a desire to go to the end of a code that the group imposes on itself. Contact dance is one of the references chosen by the collective to question what dance is. It is diverted or even mocked. In the first variations the feet, the arms and the hands are called upon by the dancers, by a tap, which enjoins the other to set this limb in motion. The codes, the stakes of this bodily practice which has long inhabited dance classes and theater sets are therefore respected. But here, the slaps become spankings. It is the noses, the cheeks, the teeth, the breasts that are solicited.  It's the clothes that are pulled,  ready to tear. The lifts become deliberately clumsy, taking more from children's games than dancing. On all fours, having to run sideways, a performer on their back, the dancers turn into funny beasts to dance. 

Obviously, the references of this beautiful and young troop are numerous.  But the interpreters have appropriated them in order to better divert them. They somewhat dent idols like Jérôme Bel, for example. The proof is with this hilarious scene where, three dancers on the set, stare at us, in positions that suggest that they are going to dance. The main song from the film Titanic, interpreted by Céline Dion, sounds. And it is the spectators, in spite of themselves, who begin to move about in their armchairs. Who waddles, who taps the measure, who sings in playback or humming. It's our turn to be watched, watched, watched. No more smiles here, but a distanced gaze from the performers.  

The dance is energetic, invested, precise. She is also funny. Making people laugh while dancing is certainly one of the most delicate arts.  Jean-Yves, Patrick and Corinne an irreverent feat that blows an invigorating wind on our habits as spectators.

Thomas Cepitelli


1ere Mondiale - Amelie Ferrand 3-min.jpg




From personal to collective:
a joyful mix, cultural and choreographic

With 1ère Mondiale, the Ès Collective (Sidonie Duret, Jeremy Martinez and Emilie Szikora) dives into its danced, pop or contemporary memories. For three solos converging towards a collective experience, to be discovered as a world premiere during "Le Moi de la danse". From Me to We.


1st World: here is a title that has something to think about. And the moment of coincidence between the title and the fact will take place at Les Subsistances, in Lyon. As part of the festival “Le Moi de la danse”. It is on this occasion that the Collectif Ès will deliver 1ère Mondiale (2019), a world premiere. Behind the name Collectif Ès, there are three dancer-choreographers: Sidonie Duret, Jeremy Martinez and Emilie Szikora. With 1ère Mondiale, the intention is to deliver a piece composed from three solos. Each of the three choreographers-performers having begun by reviewing their career, their practice. At the antipodes of an elitist conception, Sidonie Duret, Jeremy Martinez and Emilie Szikora plunge into their own history. A maelstrom where planetary hits and contemporary dance come together. Britney Spears, Saturday Night Fever, Maurice Béjart… Classical music, disco, aerobics… 1ère Mondiale promises a joyful mix of genres.

On a stage with colorful and deconstructed fluorescent tubes, the three dancers will create a choreographic ego-trip. A dynamic adventure, starting from the Me to do better collectively. First there is Emilie Szikora, who translates her first memories of dance into choreography. The Minitel, VHS tapes, dance classes to do like girlfriends and the desire to learn modern dance, to be able to shine on Britney Spears, collide there. The first dazzles with Peeping Tom and Alain Platel. Classes at the National Conservatory of Music and Dance in Lyon and the meeting with the two companions of the future Collectif Ès. Then the collaborations with different companies and choreographers. History within history, in seeking to identify what contemporary dance is, Emilie Szikora saw the emergence of Maurice Béjart and his mother. With the admiration she has for La Mass pour le tempspresent (1967).

For Jeremy Martinez, it is the figure of the father, a football coach, who stands out. With, between the lines, John Travolta and Saturday Night Fever (1977). The famous solo. And while his father enrolled him in dance lessons from the age of twelve, with 1st World Jeremy Martinez completes the spiral. By delivering an overhaul of this moment of anthology, for his father. And this, after having traced his choreographic route, from the Mister Camping election (at 9 years old) to collaborations with Yuval Pick, the Arcosm company, or even Sylvain Groud. Finally, Sidonie Duret for her part delivers something of flight. Dance as a way out, as baggage to hit the road. From classical to contemporary, with a stopover in New York, before starting to work with choreographers like Boris Charmatz or Olivia Granville. Uninhibited, the 1st World piece promises to joyfully mix cultures, references and genres.




Hippopotomonstrosesquippedaliophobia* or the fear of words that are too long, so this is the title to sleep outside of the 2nd creation of the Collectif ÈS. Behind ÈS are three strong bubbling heads from the Lyon CNSMD (Émilie Szikora, Sidonie Duret and Jérémy Martinez) who want to make things happen. “We want to be dancers to move and sweat, to insert movement and bring things to life for people. We also wonder a lot about the relationship with the public,” explains Émilie. Why getting on a set, access to culture or understanding an artistic work are all subjects close to their hearts. The collective is also an essential word for the trio, the basis of an agreement based on sharing.

“A functioning in common that makes it almost possible to walk telepathically. We don't have a defined role. We all give ideas. We really put everything together and we want to agree on everything we offer. “With this very written piece (but “which moves according to the moods and supports of each and the energy of the moment”), they wanted to deal with fears “because we felt very fearful. So it was a little therapeutic”. They finally opted for a more absurd, second-degree approach to the fears that surround them. Obviously, it's about dance and movement “because you're not a dancer for nothing. We like physical things. Be in the effort. We don't want to decorate a set, we want to be there to do things in the literal and hectic sense of the term. And when the movement overflows, it goes as far as the voice. […] More technically on movement, we work from words that inspire us, ideas or images and mainly words from which we draw verbs and actions. We discuss, we exchange and we test together, we give each other impulses, we try, we bounce back with new ideas, we confront different versions and ideas. Our choreographic material is often written from that. »

By Anne Huguet


491 - No. 217 - September 2015

"This piece with the almost unpronounceable name Hippopotomon-strosesquippedaliophobia is not only light and funny, it is also perfectly choreographed, going from a choreographic narrative in the first person to collective action. If it has some similarities with the vein of an Ambra Senatore, we are nevertheless quite far from the Italian choreographer whose humor is sometimes a little too forced in its obligatory subtlety, where the Collectif Ès subjugates it to a rhythm worthy of a comedy à la Buster Keaton The gestural finds are there, the dancers are up to it."

Agnes Izrine



ÈS, at the Lyon School of Dance

They are all 25 years old and come from the CNSMD of Lyon, Sidonie Duret, Jérémy Martinez and Emilie Szikora form the Collectif ÈS, which bases its dance on a work of collective research, without a leader and with a writing made of assembly , superposition, declension and deconstruction. In 2014, the piece Hippopotomonstrosesquippedaliophobia earned them the coveted public prize at the Recognition competition, which rewards young talent. We are starting to see it everywhere and next year they will be at the Maison de la danse. Remember the name of the play (if you can!), it will allow you to discover a universe which, with a dose of the absurd, evokes all the underlying fears invading our lives in an obsessive way, crashing into them in the disorder with a memory that has trouble rewinding the linear thread.


Lyon Capitale - N°743 - April 2015

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