Tour calendar

October 2022

  • 11 : Épinal (FR) - Pénélope

January 2023

  • 05 : Annecy (FR) - Pénélope
  • 06 : Annecy (FR) - Pénélope
  • 13 : Paris (FR) - Pénélope
  • 14 : Paris (FR) - Pénélope
  • 15 : Paris (FR) - Pénélope
  • 20 : Paris (FR) - Pénélope
  • 21 : Paris (FR) - Pénélope
  • 22 : Paris (FR) - Pénélope

February 2023

  • 22 : Esch-sur-Alzette (LU) - Pénélope
  • 10 : Caen (FR) - Pénélope

March 2023

  • 16 : Dieppe (FR) - Pénélope
  • 22 : Grenoble (FR) - Pénélope
  • 23 : Grenoble (FR) - Pénélope

May 2023

  • 16 : Le Havre (FR) - Pénélope
  • 17 : Le Havre (FR) - Pénélope

Penelope

Compagnie Jean-Claude Gallotta

Choreography: Jean-Claude Gallotta
with Axelle André, Naïs Arlaud, Alice Botelho, Ibrahim Guetissi, Fuxi Li, Bernardita Moya Alcalde, Clara Protar, Jérémy Silvetti, Gaetano Vaccaro and Thierry Verger
Musics: Noémi Boutin with Géraldine Foucault and Marie Nachury, Sophie Martel, Antoine Strippoli
Choreography assistant: Mathilde Altaraz
Texts and dramaturgy: Claude-Henri Buffard
Stage and lighting design: Manuel Bernard
Lighting assistant: Benjamin Croizy
Costume design: Chiraz Sedouga
Video sequences: Paul Callet
interpreted by: George Mac Briar and Béatrice Warrand
with the voices of: Dominique Laidet and Béatrice Warrand

Created in 2022

Duration: 75 min

After the recreation of Ulysses, Jean-Claude Gallotta broadens his view of the Homeric epic to approach it from the point of view of Penelope. The desire is to accompany the reinvention of the character in her new status as a protean representative of all women.
The ballet Penelope mirrors the white ballet Ulysses. It is in a way a black ballet, playing with the rhythms and nuances that this ‘colour’ contains. The piece explores the architecture of the space and reinterprets symmetry, perspective, ensemble steps, entrances and exits, Gallotta style, with sensual impulses, carnal interlocking, ironic detachments and insolent nose-thumbing.

Press talks about it

“There is always this joy of dancing, this jubilation of crossing the space without constraint, these races from which emerge small mischievous jumps. Gallotta’s dance seems to remain, unchanging, in the place of movement, made up of well-developed ensembles, very intertwined duets, bodies mixed in their differences…”.

Nathalie Yokel, La Terrasse

In the repertoire