Players : Couvent des Récollets, Université Européenne de la Recherche, Natan Karczmar, Jean-Pierre Faye, Fred Forest, Sophie Lavaud et tous les présents
Nous avons l’habitude de considérer que c’est le public qui choisi son spectacle et que c’est la qualité de ce spectacle qui définit le public dont la première qualité est le nombre. Je propose d’inverser la proposition après avoir testé les vertus de ce renversement.
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Loading ...Players: Dorkbot, galerie Ars Longa, David Steinberg, Joëlle Bitton, artistes
Découvrant les arcanes nostalgiques du “circuit bending” il m’apparaît immédiatement qu’ici la pulsion sadique se détourne de son objet véritable. La trituration contre nature de jeux d’enfant ; la tentative de convertir sons, notes et voix en bégaiements, hurlements, éructations, et autres borborygmes électroniques me fait penser que cette acharnement compulsif ne s’adresse pas à son véritable destinataire.
J’ai eu l’occasion de dire que le référent absolu de l’interaction était le dialogue dont les formes extrêmes sont: faire l’amour et faire la guerre. Pour “interesser“ le Jeu, il faut incarner l’interaction.
L’art étant parfois une forme d’onanisme, narcissique et désespéré, je propose une performance qui place le corps au centre de la manipulation.
Sur scène, une femme, ou un homme, nu, s’efforce avec l’enthousiasme que donne le plaisir extrême teinté de désespoir, de tirer le maximum d’un godemichet modifié. De l’objet jaillissent des câbles qui suggèrent que la vibration qu’il produit est immédiatement traduite en hauteur et intensité du son qui accompagne les gestes et la progression du sujet. La voix de ce dernier, hésitant entre la cantatrice proche de l’extase et le ténor touchant au but, se mêle aux sonorités instrumentales, puissantes et déroutantes, du godemichet en action.
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(show)
October 15th, 2006
On stage, the actors. They appear backlit Ted, silhouetted. The back of the stage is a screen an hanging above, are long like, elastic shapes of which the motion reminds the one of snakes. Amongst the auditors, some handle small devices (cellar phones, PDA). The latter know the image on the screen is the one filmed by the video cameras, the snakes’ eyes. The devices film on request of the actors, sometimes in close-up, on their lightened side. Based in the controls set, the cutting off is made according to the shots, guided by an audience that want to see more and more, closer. The succedance of images are real-time mixed.
Amongst the actors, video (snakes) constitute a scopic permanent thrill, testifying their over exposition, creating a proximity unfound in theatre. Their video-sights denunciate, at the same time, the anxiousness of being seen, the fear of being ignored, the to eye contact with the audience.
The paradox is also issued, at this time they share the space of the room, and the spectators can find themselves watching the actors on screen although they can see them on stage, partially hidden by their silhouette in action.
(5 votes, average: 4, 00 out of 5) Loading ...
witten : 6 octobre 2006
Silence!
Performance
Live performance, interactive staging, mobile art, locative
6th October 2006
It takes place in a room. Theatre in the round. On the stage, a play is being performed. A classic (Romeo and Juliet?) : it needs to be huge. The references must be obvious. It can be seen but not heard. The actors play, they wear costumes, but we cannot hear the text. It is as though the sound had been turned off.
The picture is a somewhat blurred, underexposed, of poor quality and covers the back of the stage. A face, close up to the lens, apparently photographed using a cell-phone.
In the audience, we can hear a voice corresponding to the picture. The telephone conversation interferes with the play. Sometimes they blend together. Most of the time, the two soundtracks, that of the telephone and that of the theatre, just ignore each other. The people in the audience try to listen, but find it difficult.
It turns out that in the audience, some members are talking on the phone, mumbling, as though not disturbing anyone. Others sometimes tap them on the shoulder, as though to say: ‘Could you stop talking, we’re trying to listen’. It takes a certain time to understand that the picture on the stage is that of the people in the audience, who apparently consider that projecting their life has become an emergency, compared to the play, an emergency that, involuntarily, they share with the audience.
In other places, at the same time, in the café, in the street, in a rather old-fashioned flat, throughout the play, speakers are having a conversation that becomes more and more coherent … it is the story of that very moment that is being acted out on the stage.
The play does not only take place in the audience. The audience can also be invited to places where they can have a conversation with impolite spectators.
(4 votes, average: 3, 50 out of 5) Loading ...
