« La Gaîté Lyrique is born again, at the forefront»
By Grégory Picard, March 8, 2011
To complete this utopian vision of an omniscient building, I COULD NEVER BE A DANCER offered up a performance-experience that encouraged the audience to communicate with “humanoids.” (…)
“Actually, no trace of those conversations is kept, even though a lot of audience members think so, and are convinced they are participating in a creative process of tremendous scope. For us, it’s about questioning the modes of perception, in a sort of endless dialogue… (…).” Olivier Casamayou told us. Fascinated by these young men and women turned into machines, many gave in and answered a questionnaire that became at times an unwitting therapy session, with each person, ultimately, communicating only with themselves. “DJ Pedro Winter stayed for one hour and 40 minutes, looking to complete the process,” Olivier Casamayou added (…).” “We don’t record anything, and we won’t analyze anything that came out of these encounters. The essence of the performance is to confine itself to the “here and now,” Carine Charaire added.
Replacing the humanizing processes of machines into the performance of flesh and blood actors, the duo put into question our own fantasies in the face of new technology. A demanding reflection, staged with semi-serious, semi-brazen direction, faithful to the spirit of the venue.
THE NEW YORK TIMES
« Romper room à go-go »
By Eric Wilson, October 8, 2008
There was a crowd seven deep on Saturday outside one of the hottest club in Paris. Young people were pleading to get in but the woman with the clipboard behind the velvet rope could not budge. There was some crying. (…)
It looked just like any night at the Beatrice Inn, except that the VIP’s in question were infantile persons. At Babydisco, which has been a certified hit since it opened last month in the middle of the Palais de Tokyo contemporary art museum, admittance is restricted to those from age 3 to 7. The museum has been crawling with toddlers with attitude problems ever since. (…)
The club was conceived as an art installation by Carine Charaire and Olivier Casamayou to introduce children to the art of dance, music and video. But for the adults watching from outside, the club seems to take on another meaning – “part of their universe being reinvented by children,” according to the creators.
And it is rather startling to see how adult behavior is almost innately imitated by children enthusiastically lining up and checking their names on a list to gain entry into a dance party inside what is actually a plywood bow about the size of a minivan. One little boy was dancing madly while sloshing his drink about a sippy cup. Perhaps he was making a statement about the absurdity of modern glamour culture.
« When the little ones out clubbing without their parents »
By Véronique Cauhapé, November 19, 2008
Without denying the pleasure of watching them, or the pleasure they themselves undoubtedly experienced, one wonders what children get out of this “place of initiation into certain aspects of contemporary artistic expression (dance, music, video…),” for it’s with that goal in mind that Carine Charaire and Olivier Casamayou of the collective I COULD NEVER BE A DANCER, both of them choreographers, conceived this program. (…)
But one can also ponder the following observation by Olivier Casamayou: “we’re sometimes criticized for inciting children to ape grown-ups. Couldn’t it also be said that it’s more a case of adults acting like children when they’re out at nightclubs?” Backwards maybe !
« Rock Bledina »
By Benoît Sabatier, October 2008
Conceived by the duo I COULD NEVER BE A DANCER (Carine Charaire and Olivier Casamayou), thirty-somethings already connected to the two biggest A-list parties of the year (the Converse Century Party and the Demolition Party), it offers up workshops around the theme of pop culture (taught by established artists), dance classes (with Nadège Winter), and sets by famous DJs. Pedro Winter and Ariel Wizmann have been booked. (…)
Olivier Casamayou: “The aim of Babydisco is not to push children to ape grown-ups in a given environment, but to inspire them to think critically, to understand the way these conventions work. We provide keys. Nightclubs have manufactured most of the references in which kids function and which they manipulate without knowing. Club culture is a culture, why shouldn’t there be education around it ?” (…)
Pop culture aimed at our little vampires, that ape-like rock ‘n’ roll, so that’s what it is then: we’ve toppled over onto the Planet of the mini-apes we created.
« Never say never »
By Estelle Chardac, October 2008
This is not a dance company. Rather an organization devoted to dusting off the fourth art, to inventing new fashion conventions, to giving a third dimension to pop culture. Through a variety of incarnations, Carine Charaire and Olivier Casamayou do a huge remix of their era. (…)
The name is not completely accurate. Carine Charaire and Olivier Casamayou remain excellent dancers. Just maybe not the dancers people required of them. Probably their brains were too heavy for the stage of those Sunday afternoon shows. So they reinvented themselves into an adventurous and pop culture phoenix. A vague and whacky entity that takes them to the crossroads of music, dance, contemporary art, fashion… ad lib. Anywhere ideas are lacking.
« Dancing kids »
By Mathias Ohrel, August 25, 2008
Carine Charaire and Olivier Casamayou are choreographers and artists (with their company I COULD NEVER BE A DANCER), and they asked themselves what it is that children would like to do, see, hear, and get out of the world of grown-ups. (…)
In this afternoon nightclub, lullabies are out of the question. The program by guest DJs is worthy of the top electro festivals, since Piloosky, Busy P, Ariel Wizman and other postmodern replacements for Chantal Goya will be spinning every other week.
« Slave to the rhythm »
By Nadège Winter, Summer 2007
Carine Charaire and Olivier Casamayou, two French dancers and choreographers, make up a duo that dares to call itself I COULD NEVER BE A DANCER. Watching them work, you feel like saying to them “ I wish I could.” Thirty-somethings brought up on hip-hop, on contemporary and classical dance, among others, they work the conventions of pop culture with gusto. They know how to bring the poetry and creative energy of dance into worlds as different as contemporary art or fashion, as well as advertisements or the great machinery of brand name marketing. Falling somewhere between art happenings and MTV choreographies, they have the talent to impose their imagination with lightness and humor, without ever falling into intellectual abstraction. Music video concepts and cubist installations, they flirt with Michael Jackson and Douglas Gordon.
I COULD NEVER BE A DANCER takes the scared out of dance with humor and rids the most insecure of their complexes by making them want to follow them.
« Les filles de l’air »
By Thomas Erber, March 2007
For the release of their fourth album, Pocket Symphony, Jean-Benoît and Nicolas of AIR have brought together four women who inspire them. A return to the feminine side of the music of one of the most symbolic bands of their time.
Carine Charaire :
Artist and set designer with the duo I COULD NEVER BE A DANCER. Originally from Nice, where she spent her whole childhood, Carine devoted the first 20 years of her life to dance. As early as the age of five, she knew she wanted to become a professional. (…). At the age of 20, she went to Paris for her first performance with Blanca Li’s company, then, at 22… she became majorly fed up, she quit everything. She discovered contemporary art and the artists that come with it. A light bulb went off. She met two choreographers who shaped her destiny: Marco Berrettini, “the Dionysian,” and Jérôme Bel, “the Apollonian.” Then, along with Olivier Casamayou, she started up the duo I COULD NEVER BE A DANCER, where today she brings together all her creative desires.
With I COULD NEVER BE A DANCER, we put pop into concept and concept into pop. We’re also called “movement stylists” or “pop choreographers.”
« Nuit Blanche »
October 4, 2005
It’s a whole different kind of melody that plays in the basement on the Carrée square of the Forum des Halles: an insistent and monotone rhythm, a simple pulsation that never varies. In a neon cage, headphones and hat on, iPod in the pocket, a man sways like crazy, in a wonderful disharmony conceived by choreographers Olivier Casamayou and Carine Charaire. A mix of mannerism and hip-hop, his fascinating movements violently collide with the vulgar beats the public hears. But what in the world is the dancer listening to? Eminem, Michael Jackson, Dalida? That’s for the audience to imagine, in permanent frustration. At opposite poles of karaoke and interactive fashion, this is a demonstration of “super modern solitude.”