Fun TimesBlast!Delicate PeoplefantasiaInner TubesThe Goldfish and the Inner TubeCalico Mingling, Katema, Reclining Rondo, Particular ReelScarlett’s ScaredPastime, Carnation, Museum PieceScarlett’s FallCosas Rosas

Fun Times

Performance
Music
Dance
1

Creation 2024

Choreography in collaboration with the dancers: Ruth Childs
Dance/performance: Bryan Campbell, Ruth Childs, Karine Dahouindji, Cosima Grand, Ha Kyoon Larcher
Research & sound design: Stéphane Vecchione
Light design: Joana Oliveira
Light design assistant: Alexy Carruba
Assistant: Flow Marie
Costumes: Tara Mabiala
Set Design: Mélissa Rouvinet
Set design assistant: Joanika Pages
Outside eye: Madeleine Fournier
Vocal Coach: Bertille Puissat, Didou Crazy
Technical Director: Joana Oliveira
Production, administration, diffusion : Lise Leclerc et Cecília Lubrano
Special thanks to: Violaine Huisman, Denis Waldvogel

Production: Scarlett’s

Coproductions: Pavillon-ADC Genève, Arsenic-Centre d’art scénique contemporain Lausanne, Atelier de Paris/CDCN, CCN2 Grenoble, centre chorégraphique national de Caen en Normandie dans le cadre du dispositif Accueil-studio/ministère de la Culture, Dance Reflections by Van Cleef & Arpels

With support from: Montpellier Danse dans le cadre de l’accueil en résidence à l’Agora – cité internationale de la danse, avec le soutien de la Fondation BNP Paribas, Loterie Romande Fondation d’aide sociale et culturelle du Canton de Vaud, Fonds culturel de la Société Suisse des Auteurs (SSA), Fondation Mécénat SIG, Fondation Ernst Göhner

Ruth Childs is the associated artist at the CCN DE GRENOBLE, as part of the system supported by the French Ministry of Culture and Communication (2023-2024).

Scarlett’s/Ruth Childs benefits from a joint support contract from the City of Geneva/Canton of Geneva/Pro Helvetia (2024-2026).

Photos: Marie Magnin

Fun Times stages dif­fer­ent vari­ations on the Eng­lish notion of fun: the naive act of hav­ing fun or being fun togeth­er, the less con­ven­tion­al act of mock­ing. Ruth Childs will explore how these shared exper­i­ences can be trans­lated, both cho­reo­graph­ic­ally and vocally. Move­ments and tra­ject­or­ies move away from the geo­met­ric rig­or of her pre­vi­ous pieces to work on dances that explode in a play­ful rela­tion­ship with space. As for the voices, they are used for their son­ic and music­al qual­it­ies: no words, but an express­ive­ness linked to laughter, cry­ing and ono­ma­to­poeia. Inspired by the work of Amer­ic­an com­poser Meredith Monk, and acompanied by the musician Stéphane Vec­chione, she explores the ways in which the voice can become one with the cho­reo­graphy or be dis­so­ci­ated from it, unfold­ing in indi­vidu­al or shared scores. In this way, Ruth Childs explores the music­al­ity of laughter and tears, their tone and rhythm, in a tra­gi­com­ic vein befit­ting our times, when we no longer know wheth­er to laugh or cry. A ten­sion remin­is­cent of Mod­ern Times, where Chap­lin was able to sim­ul­tan­eously cap­ture the ser­i­ous­ness and the ridicu­lous­ness of mod­ern life.

Past Shows
  • 21–22.11.2024
    Swiss Dance Week à l’Atelier de Paris / CDCN avec le Centre culturel suisse, France
  • 31.10–03.11.2024
    Première! Arsenic, Lausanne, Switzerland