Didier Théron was given birth in Béziers, France. Through Dominique Bagouet and Merce Cunningham, he learned dancing. The Award for Best Choreography at Hivernales d’Avignon Festival in was given to him by Dominique Bagouet in 1987. With Harrad Tangen, he studied Zen in Bukkokuji Temple which can be found in Obama, Japan. He won the Villa Medici grant for concentrate in Villa Kujoyama in Kyoto, Japan. Within the years of 1998 – 2012, Didier Théron Company was able to perform in these country: Bolivia, Czech Republic, Croatia, England, Germany, India, Italy, Japan, Mozambique, Pakistan, Scotland, Spain and Ukraine. Didier Théron is can be found at Espace Bernard Glandier in Montpellier.
Since the main exhibitions of The Partisans, a movement which changes the possibility of opposition into development in front of an audience, has stirred in Théron. This is trailed by the unavoidable investigation of artistic expressions and stage outline which is at long last converted into movement that is both physically and rationally present, thorough record of the body in space, realistic developments, their geometry, physical direction of the body, the vitality of the development and control of that vitality. By supporting the economy of means, his works were furnished with clear and succinct structures where the physical material fills in as a type of graphical perception by accuracy of working with body. He engages himself with the collection, crack, issue, power, and in the organization of signs in movement. Through this move, Théron discovers his model of opposition; he attracts and introduces to the world a political accomplishment.
AIR is worked as a shape made of the collections of scripted developments made with the air and latex outfits or originating from individual or regular choices to move. It is arranged and composed piece requiring execution spaces which Didier Theron picks with the assistance of pictures or recordings. This movement present another discernment to the swelled figures, who – in spite of their “past standard” perspective can be grave, serious and genuine, with an accuracy and softness appearing differently in relation to their volume.
Their essence is maybe reminiscent of legendary personalities of an another age. This reference is available in the specific idea of the venture and the swelled structures (Donald Becker and Didier Théron), with their express reference to Oskar Schlemmer and his enthusiasm for old societies and their representative and general significance.
In Didier’s interview in 2016, he said that for this (AIR) venture, he picked clear conventions for the movement: artists talk with each other in a choir, that they tie without seeing each other, they are as one generally and alone some of the time in a compelled space, prompting a type of vitality sparing.
“Here, the breath turns into a connection, and the winding is a particular help in space, for all, in the moving. Listening is at the focal point of the move work. The precision of the development outwardly appears differently in relation to the nonstandard structures introduced here – I play with these boundaries that unfurl the propensities for our look and of our considerations”, he said.
He explained that Latex structures answer promptly to the motivations of bodies by irregular resonances. The show of structures and pictures made conceivable by the caught air is both astonishing and clever. The artist turns into a genuine kaleidoscope of structures in development, crossed by its own vitality: he is increased and extreme. The movement hauls us in the huge and nonstandard. It excites our feeling of resilience through a difference in our vigilant gaze – or not – toward this unique and exceptional Other. The design of these new bodies draws a mankind characterized by different pictures: this displayed hypertrophy addresses our dreams of what’s human.
Didier said that he picked a blended throwing with artists with differed foundations (hiphop, contemporary) for recommendations and energies to be consolidated: the Inflated gobble up our reality motions, reuse them so as to show something new.
Subsiding into the social niches and corners of Brum more than three weeks in June, Birmingham International Dance Festival — BIDF18 — came back to the city for a 6th release under another Midlands Dance joined imaginative initiative: Lucie Mirkova (interval creative executive) and Paul Russ (relate masterful chief and CEO of Dance4). With the celebration assuming control over a diminished measured Victoria Square (because of cable car building works) the celebration center point, stage, establishments and refreshment trucks offered an open air base for the initial ten days book-finished by two celebratory and free projects of work close by some vigilant week-day programming (lunch and after work availabilities) to pull in city occupants to experience move.
For stalwart move enthusiasts, the celebration has customized probably the most renowned organizations from around the UK in three of Birmingham’s best expressions settings; the Birmingham Hippodrome, Midlands Arts Center and New Alexandra theater. One of the member for this occasion is Company Didier Theron who performed AIR.
As the lead celebration picture and driver of the web based life publicity, Didier Theron’s AIR and La Grande Phrase acquaints his ricocheting pink men with a torrential slide of consideration as they anarchically wandered, mixed and drifted their way around clueless shops, workmanship exhibitions and notorious downtown area milestones filling camera rolls wherever they went. The pink suits (finish with an inward air filled internal tube) offered a scope of inflatable choreographic potential outcomes that betrayed the eye and played with observation: when they pliéd they shrank to a relatively inconceivable tallness. Blending dull group of onlookers collaboration, running at accelerate to and into the gathering of people, inclining in and requesting that the group bear their weight before impassively straying and twocing a pram (and infant) created steady crowd grins. What resembles a straightforward ad lib with their condition and gatherings of people in an entertaining ensemble is really a pile of execution insight got from many exhibitions, unforeseen experiences and testing the limits of what a group of people will acknowledge. Since the work initially debuted in 2013 Theron has conveyed his pink euphoria to urban areas over the world and Birmingham won’t overlook the bobbing pink men at any point in the near future.