2nd PERIOD

Christine Coudun composes her first shows with a number of twelve dancers trained together since 1984.

(1990-1995)

1990 : Contrepied

(Duration : 75’)
Choreography : Christine Coudun
Music : Carole Rieussec, Gino Favotti

"This show tells the routes of two kids who dream of football. One of them will succeed, the other won’t. On the stage dreamed models which much resemble to the sublimated fathers make their appearance. Rehashes of the dramaturgy of a choreographed match, where dancers are more braggart than ethereal dandies. Markings, winger’s battle dance of the scalp in front of the libero. Tackles and aesthetically pleasing trips performed in a slow motion way. Two techniques mixed on a popular emotion background"
Luc Valiant- Libération- September 1990

"Contrepied is a small masterpiece of energy, humour and intelligence. "
JL. Hervé- Les Nouvelles de Versailles- September 1990

1992 : Rapetipas

(Duration : 80’)
Choreography : Black Blanc Beur
Music : DJ Dee Nasty

"We are carried through the styles and the times at a breakneck speed […]. It is the quality of Black Blanc Beur, which can associate the force of the gesture to the intelligence of the matter. A form of an ideal show which belongs to the great artists. The fifth creation of B3 reaches the top of its Art"
JL. Hervé- Toutes les Nouvelles

1994 : Zzarbi le Retour

(Duration : 30’)
Choreography : Christine Coudun
Music : Editing of existing musics

1995 : Blue Legend

(Duration : 95’)
Choreography : Christine Coudun
Music : Biber Gullatz and Eckes Malz

"Blue Legend or the history of the jeans […]. Blue Legend tells about America in a rich succession of scenes evoking the gold diggers, the West Side and the break dancing. The sequences are numerous, the settings evocative and thec costumes are evocative and the choreographer Christine Coudun demonstrates how clever she can be »
René Sirvin- Le Figaro- May 1995

"the play between blues and Negro spiritual is a pleasant moment of syncopated dance where the dancers enjoy to create obstacles to thwart them with humour, either on slow motion or accelerated effects and with a zest of tap dancing which is a nod in the direction of Mummenschanz. Some pocket size Music Hall danced with brio. »
Bernard Raffali- Les Saisons de la danse- Février 1997