tag:blogger.com,1999:blog-69069269811757646852024-02-21T18:10:20.826+01:00ActualitéRaffaella GardonAnonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.comBlogger122125tag:blogger.com,1999:blog-6906926981175764685.post-6757015655613710662018-01-25T09:48:00.005+01:002018-01-25T09:48:52.440+01:002018, de belles perspectives<div style="text-align: center;">
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<span style="font-family: "avenir"; line-height: normal;"><span style="font-size: xx-small;">La compagnie</span></span><span style="-webkit-font-kerning: none; font-size: 11px;"> </span><span style="-webkit-font-kerning: none; line-height: normal;"><span style="font-size: large;">Gesto collectif</span></span><span style="line-height: normal;"> </span><span style="font-family: "avenir"; line-height: normal;"><span style="font-size: xx-small;">vous souhaite une</span></span><span style="-webkit-font-kerning: none; font-size: 11px;"> </span><span style="-webkit-font-kerning: none; line-height: normal;"><span style="font-size: large;">merveilleuse année</span></span><span style="font-size: xx-small;"><span style="font-size: x-small;"> </span></span></div>
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<span style="font-size: x-small;"><span style="font-size: xx-small;"><span style="font-family: "avenir"; line-height: normal;">sous le </span></span><span style="font-size: xx-small;"><span style="font-family: "avenir"; line-height: normal;">signe de la</span><span style="-webkit-font-kerning: none;"> </span></span></span><span style="-webkit-font-kerning: none; -webkit-text-stroke-width: initial; font-size: 11px; line-height: normal;"><span style="font-size: large;">reconstruction et de la renaissance</span></span></div>
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<span style="-webkit-font-kerning: none; -webkit-text-stroke-width: initial; font-size: 17px; line-height: normal;"> </span><span style="font-family: "avenir"; line-height: normal;">et est</span><span style="font-family: "avenir"; font-size: x-small; line-height: normal;"> </span><span style="-webkit-font-kerning: none; -webkit-text-stroke-width: initial; line-height: normal;">fière</span><span style="line-height: normal;"> </span><span style="font-family: "avenir"; line-height: normal;">de vous </span><span style="font-family: "avenir"; line-height: normal;">présenter </span><span style="font-family: avenir;">son tout premier spectacle</span></div>
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<span style="font-size: large;"><span style="-webkit-font-kerning: none;"><b> </b></span><span style="color: #f54240; font-family: "chalkboard"; line-height: normal;">« la jeune fille aux mains coupées ou je me recompose (différemment) »</span><span style="-webkit-font-kerning: none;"> </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-size: xx-small;">mis en scène par Raffaella Gardon d’après « La jeune fille aux mains coupées » </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-size: xx-small;">des frères Grimm, <span style="font-size: x-small;">qui sera </span></span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-size: x-small;">créé les</span> </span><span style="-webkit-font-kerning: none; line-height: normal;"><span style="font-size: large;">9 et 10 mars 2018 à la Nef-manufacture d’utopies</span></span><span style="-webkit-font-kerning: none; font-size: 11px;"> </span></div>
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<span style="-webkit-font-kerning: none; font-size: 11px;">à </span><span style="-webkit-font-kerning: none;"><span style="font-size: x-small;">Pantin. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAOXmU3z1RZ74iSZArU_845YDUQgSxr25G3UphG4NGXN83-6bRogEyWtga7Y9g4YsNj3ntj6ga9FBC_hDWwOn6zLXAbbn82f4lOfkD3kKM_ZvZ0W74DlJVy712pPbEmCSSo-UcS6rqtuw/s1600/Chrysocolle+sautille+voeux.jpg" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAOXmU3z1RZ74iSZArU_845YDUQgSxr25G3UphG4NGXN83-6bRogEyWtga7Y9g4YsNj3ntj6ga9FBC_hDWwOn6zLXAbbn82f4lOfkD3kKM_ZvZ0W74DlJVy712pPbEmCSSo-UcS6rqtuw/s1600/Chrysocolle+sautille+voeux.jpg" /></a></div>
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<span style="-webkit-font-kerning: none;"><span style="font-size: xx-small;"> Si vous souhaitez</span><span style="font-size: x-small;"> </span></span><span style="-webkit-font-kerning: none; font-size: large; line-height: normal;">aider cette jeune fille à retrouver ses mains</span><span style="font-size: x-small;"><span style="-webkit-font-kerning: none;"> </span></span><br />
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<span style="font-size: xx-small;"><span style="-webkit-font-kerning: none;">( au théâtre tout est possible !)</span></span></div>
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<span style="font-size: xx-small;"><span style="-webkit-font-kerning: none;">vous pouvez participer à la campagne de financement participatif que </span><span style="-webkit-font-kerning: none; -webkit-text-stroke-width: initial;">nous avons mis en place </span></span></div>
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<span style="-webkit-font-kerning: none; -webkit-text-stroke-width: initial; line-height: normal;"><span style="font-size: x-large;">ici :</span></span><span style="-webkit-font-kerning: none; -webkit-text-stroke-width: initial; line-height: normal;"> <span style="-webkit-font-kerning: none; line-height: normal;"><a href="https://fr.ulule.com/la-jeune-fille/">ulule - jeune fille</a></span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-size: xx-small;">Vous y trouverez une courte</span><span style="font-size: x-small;"> </span></span><span style="font-size: large;"><span style="-webkit-font-kerning: none; line-height: normal;">vidéo</span><span style="-webkit-font-kerning: none;"> </span></span><span style="-webkit-font-kerning: none;"><span style="font-size: xx-small;">de présentation du projet, toute l’équipe qui travaille d’arrache-pied depuis des mois, des<b style="font-size: small;"> </b></span></span><span style="-webkit-font-kerning: none; line-height: normal;"><span style="font-size: large;">croquis</span></span><span style="-webkit-font-kerning: none; font-size: 16px; line-height: normal;">,</span><span style="-webkit-font-kerning: none; font-size: 11px;"> </span><span style="font-size: xx-small;"><span style="-webkit-font-kerning: none;">des explications et des </span><span style="color: #f54240; font-family: "chalkboard"; line-height: normal;">cadeaux</span><span style="-webkit-font-kerning: none;">!</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-size: 11px;"> </span><span style="font-size: large;"> </span></span><span style="font-size: large;"><span style="color: #f54240; font-family: "chalkboard"; line-height: normal;">Merci</span><span style="-webkit-font-kerning: none; line-height: normal;"><b> </b></span></span><span style="-webkit-font-kerning: none;"><span style="font-size: xx-small;">d’avance pour votre bienveillance et votre amitié </span></span></div>
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<span style="font-kerning: none;">Raffaella Gardon pour </span><span style="line-height: normal;"><b>Gesto collectif</b></span></div>
Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-50937146681214037752016-12-06T21:38:00.001+01:002016-12-06T21:38:36.080+01:00La jeune fille aux mains coupées au Théâtre aux Mains NuesDébut de la résidence au Théâtre aux Main Nues le jeudi 8 décembre pour <br />
La jeune fille aux mains coupées ou je me recompose (différemment)<br />
avec Xavier Berlioz et Inés Hernández<br />
mise en scène : Raffaella Gardon<br />
dramaturgie : Shirley Niclais<br />
texte : Nicolas Rollet<br />
scénographie, marionnette : Nora Lesne<br />
musique : Alexandre Gardon<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBKhFou77n5z3BK_n-UZm3mnLuQ3-IGBKujYE39l2traSYGdgckK9pdOC-VtgLxIRmK6kHuYmw5KoJzw5KimANU5qVVrfj1sLW_VpNVxhYl6BhyphenhyphenlazohSLt7RbAIqg7m9-oG65JWdKUdE/s1600/outilsLouiseBourgeois.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBKhFou77n5z3BK_n-UZm3mnLuQ3-IGBKujYE39l2traSYGdgckK9pdOC-VtgLxIRmK6kHuYmw5KoJzw5KimANU5qVVrfj1sLW_VpNVxhYl6BhyphenhyphenlazohSLt7RbAIqg7m9-oG65JWdKUdE/s1600/outilsLouiseBourgeois.jpg" /></a></div>
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<br />Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-55114343888387108932016-12-06T20:04:00.000+01:002016-12-06T20:04:48.560+01:00L'envol de Cartier version Italienne<div class="separator" style="clear: both; text-align: center;">
Voici un extrait de l' enregistrement que j'ai fait pour le nouveau parfum pour homme de Cartier, L'Envol : <a href="https://soundcloud.com/user-100994002/raffaella-gardon-l-envol-cartier">L'Envol-Cartier-vi</a></div>
<br />Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-27084297074927984312016-12-06T19:57:00.001+01:002016-12-06T19:57:48.235+01:00RepriseAprès un break de quelques mois à m'occuper de mon bébé, me voici de retour !<br />
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Passage au Théâtre de la cité internationale avec Yasmine Hugonnet. Très inspirant<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhozgCxrk_ikhQHnbB_Os0WhulU4hL4uHWU_fEBlqP8XfnKIOyrI1ve3kMK6ZMbBf1sMcFSkNdcAc6EJuhVfcihfIK9KrZG-cZsNC6qN3yKbWb6pAPUbW6z_MkZMHvTC1TfT4fb0puCDdA/s1600/atelier-yasmine-hugonnet_MG_3760%25C2%25A9mathilde-delahaye.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhozgCxrk_ikhQHnbB_Os0WhulU4hL4uHWU_fEBlqP8XfnKIOyrI1ve3kMK6ZMbBf1sMcFSkNdcAc6EJuhVfcihfIK9KrZG-cZsNC6qN3yKbWb6pAPUbW6z_MkZMHvTC1TfT4fb0puCDdA/s640/atelier-yasmine-hugonnet_MG_3760%25C2%25A9mathilde-delahaye.jpg" width="640" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9F-y-kCtUyOetTSyzEaDxro4LXTBhBoelbLJ4bg5aJUCXGdmRCHosyfPT_h5uya84QeOqXMUwDUDryM3jzBb4wTOFkp4Egs6LckVa7PZ9qNf3AiwzqyIV746V2uE1XRLLM2XSdD0cFMo/s1600/atelier-yasmine-hugonnet_MG_3696%25C2%25A9mathilde-delahaye.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-6159748785893458872016-05-02T09:06:00.000+02:002016-05-02T09:06:39.929+02:00Zooschool al cinema classico- TorinoZooschool screening in Turin at Cinema Classico Tuesday 3rd May 9pm<br />
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<span class="_4n-j fsl">ZOOSCHOOL di Andrea Tomaselli esce in sala per una serata evento!<br /> Il 3 MAGGIO alle ORE 21.00 al CINEMA CLASSICO DI TORINO.<br /> <br /> Zooschool è un film horror a sfondo sociale.<br />
Il regista ed autore Andrea Tomaselli, tuttora insegnante in un
istituto tecnico superiore, narra di una nuova realtà scolastica la cui
violenza non è più rappresentata dalla bacchetta del maestro, ma
dall’arroganza di alunni e professori.<br /> <br /> Si tratta di una
produzione low budget, sperimentale ed indipendente realizzata con il
sistema dei co-producers; per raccogliere fondi è stata anche lanciata
una campagna crowdfunding “Indiegogo”.<br /> <br /> In un momento in cui i
lavoratori del mondo dello spettacolo si trovano ad affrontare un
sistema che non li valuta quanto dovrebbe, produzioni come Zooschool
offrono la risposta. Senza cedere né indietreggiare, costituiscono un
nuovo sistema cinema: libero, indipendente, di qualità.</span><br />
<br />Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-89720424724464357902016-02-23T14:03:00.002+01:002016-02-23T14:03:38.469+01:00Brouhaha - Maison de la Poésie - compte-rendu dessiné par Olivier Crepin<div class="separator" style="clear: both; text-align: center;">
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Olivier Crepin</div>
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auteur et éditeur de bandes-dessinées (<a href="http://www.editionsrutabaga.com/">http://www.editionsrutabaga.com/</a>)<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_jQOe87WNPZH0zpfNyAo2FvJKiQzIyuak7DV9uaA1XooP9AR-31nEHGqYzGedSqV8lcYzCj2KN89i9HR4ZabU9C1mg1qvuCTAqEF48EMkilL2CRRn8S8xt2FC-iRl6rWC-TgFgDk4AGQ/s1600/brouhahaT1.jpg" /></div>
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<br />Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-11141118140104009442016-02-22T16:23:00.000+01:002016-02-22T16:23:23.937+01:00Book 2016 by Gabriele Ciavarra<div class="separator" style="clear: both; text-align: center;">
Photos by <a href="http://www.gabrieleciavarra.com/">Gabriele Ciavarra </a></div>
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Sélection de Federica Fracassi </div>
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<img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiiFJGPuzEOmFbsGar_AMB4uV66TbrwfXCwDPYvYWah38ESn6qAxAHodU3hlv89yj8qwpPYsShxPOUccrDCn-0PTHYRH20LOeHQJzMd3hAavMoWH9GZGwMKgE8QSw-f8qhMADdmiEt4ks/s640/book+raff5221.png" width="425" /> </div>
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<br />Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-21602586731912840942016-02-22T12:23:00.002+01:002016-02-22T12:23:23.264+01:00Brouhaha - Performance à la Maison de la Poésie à l'occasion de las ortie du livre de Lionel Ruffel "Brouhaha. Les mondes du contemporain"
<br />
<header class="entry-header">
<div class="entry-meta">
<span class="posted-by"> <span class="author vcard">
<a class="url fn n" href="http://diacritik.com/author/simocrippa/">Simona Crippa
</a>
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<span class="posted-on"><a href="http://diacritik.com/2016/02/19/bons-baisers-du-contemporain/" rel="bookmark"><time class="entry-date published" datetime="2016-02-19T18:22:52+00:00">19 février 2016</time></a></span> <span class="cat-links">
<a href="http://diacritik.com/category/ecouter/" rel="category tag">Ecouter</a>, <a href="http://diacritik.com/category/livres/" rel="category tag">Livres</a></span></div>
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<span class="cat-links"><strong></strong></span><br />
<strong><a href="http://diacritik.com/2016/02/19/bons-baisers-du-contemporain/">http://diacritik.com/2016/02/19/bons-baisers-du-contemporain/</a> </strong><br />
<span class="cat-links"> </span>
</div>
<h1 class="entry-title">
Bons baisers du Contemporain
</h1>
</header>
<figure class="wp-caption aligncenter" data-shortcode="caption" id="attachment_8297" style="width: 450px;"><a href="https://diacritik.files.wordpress.com/2016/02/sans-titre6.png" rel="attachment wp-att-8297"><img alt="Performance de l’Encyclopédie de la parole " class="size-hive-masonry-image wp-image-8297" height="450" src="https://diacritik.files.wordpress.com/2016/02/sans-titre6.png?w=450&h=450" width="450" /></a><figcaption class="wp-caption-text">Performance de l’Encyclopédie de la parole</figcaption></figure>
<em><span class="dropcap">P</span>remière station </em>: Une chorale
s’installe sur scène et la parole commence à jouer. Modulée par la
gestuelle d’un chef d’orchestre installé parmi le public, la parole fait
entendre sa pulsation. Les voix se croisent, se superposent, se
multiplient. Indistinctes, elles offrent les possibilités du dire de
plusieurs singularités qui prennent un sens dans le collectif, comme à
vouloir souligner la force de ce souffle, sa mobilité, sa diversité, sa
vivacité et en même temps la précarité de l’<em>un</em> face au <em>multiple</em>. Ce mouvement se propage dans La Maison de la Poésie, s’élève, retentit dans le public, devient murmure, se tait.<span id="more-8296"></span><br />
<figure class="wp-caption aligncenter" data-shortcode="caption" id="attachment_8298" style="width: 450px;"><a href="https://diacritik.files.wordpress.com/2016/02/sans-titre7.png" rel="attachment wp-att-8298"><img alt="Lionel Ruffel" class="size-hive-masonry-image wp-image-8298" height="450" src="https://diacritik.files.wordpress.com/2016/02/sans-titre7.png?w=450&h=450" width="450" /></a><figcaption class="wp-caption-text">Lionel Ruffel</figcaption></figure>
<em>Deuxième station </em>: Des techniciens installent une table, s’occupent de la sonorisation. Un <em>work in progress</em> qui appelle l’entrée en scène de Lionel Ruffel, auteur de <strong><em><a href="http://diacritik.com/2016/02/17/lionel-ruffel-de-quoi-le-contemporain-est-il-le-nom-brouhaha/" target="_blank">Brouhaha</a></em></strong>.
La rigueur de l’essai et de sa recherche entrent ainsi en résonance
avec les performances artistiques de la soirée. La conférence débute,
Lionel Ruffel rappelle quelles sont les « <em>stations</em> » qui ont
accompagné la mise en place, toujours mouvante, de sa théorie du
contemporain sans pour autant trop vouloir s’attarder sur le théorique
préférant à cette occasion retracer concrètement les moments de son
étude.<br />
Il est fondamental de saisir d’abord que « <a href="http://diacritik.com/2016/02/16/francais-un-effort-encore-pour-etre-contemporains/" target="_blank"><strong>contemporain</strong></a> »
est à concevoir en tant que substantif et non comme adjectif. Ce n’est
pas l’art contemporain, la littérature contemporaine, l’architecture
contemporaine qui sont ses objets, mais l’advenir et le devenir de leur
co-temporalité. Si bien que les catégories historico-esthétiques en sont
bouleversées : le contemporain demande l’abandon de vieilles
représentations historiques pour une représentation d’abord linéaire,
séquentielle, successive de l’histoire puis pour une vision de la
superposition des temporalités.<br />
Lionel Ruffel accompagne ainsi le spectateur à la lecture de sa
publication, avec finesse, modestie, drôlerie et sympathie. Il saura
même emprunter à un co-rédacteur du magazine en ligne <em>Diacritik</em>,
une parlure désormais célèbre sur les réseaux, et donc de citer « Quant
tout à coup, dirait Johan Faerber » pour enchainer ensuite sur un
résonnement. Le temps et les médias étant une dialectique de taille pour
l’étude du phénomène de la contemporanéité notamment parce que deux
milliards de gens, nous dit Ruffel, publient tous les jours quelque
chose. Du temps à l’espace, l’enquête suit son cours. Et nous dévoile,
cet espace que déjà Foucault, en visionnaire, percevait comme le lieu de
la simultanéité et de la juxtaposition. C’est le tournant spatial de la
pensée, des pratiques artistiques. Et la géographie ne sera pas là pour
centraliser mais pour décentraliser sans cesse, pour donner le
mouvement d’un montage continu dans le discontinu. Si bien que le
spectateur/auditeur comprend pourquoi la modernité ne peut être la
dynamique de cette recherche qui la met hors jeu : parce qu’elle est
sans cesse décadrée et surtout, débordée. Encore que la modernité
appelait déjà l’illimité et l’infini et déclarait la mort de l’<em>auctorialité</em>
pour clamer la primauté du collectif. Mais le monde a changé depuis les
premiers romantiques allemands et puis Blanchot, il s’est mondialisé
plus qu’internationalisé. Le brouhaha appelle à rester connecté.<br />
<figure class="wp-caption aligncenter" data-shortcode="caption" id="attachment_8299" style="width: 450px;"><a href="https://diacritik.files.wordpress.com/2016/02/sans-titre8.png" rel="attachment wp-att-8299"><img alt="Emmanuelle Pireyre et Toog" class="size-hive-masonry-image wp-image-8299" height="450" src="https://diacritik.files.wordpress.com/2016/02/sans-titre8.png?w=450&h=450" width="450" /></a><figcaption class="wp-caption-text">Emmanuelle Pireyre et Toog</figcaption></figure>
<em>Troisième station </em>: la performance en duo d’<a href="http://diacritik.com/2016/02/03/emmanuelle-pireyre-les-10-ingredients-dun-livre-ecrire-aujourdhui/" target="_blank"><strong>Emmanuelle Pireyre</strong></a>
— dont l’œuvre traverse de part en part l’essai de Lionel Ruffel — et
de Toog, fait en effet partager au spectateur cette connexion en
superposition et sans confins. On citera ici un passage de « Fictions
documentaires » d’Emmanuelle Pireyre que Lionel Ruffel prend comme
exemple même d’un art poétique / art théorique du contemporain : « <em>D’une
part le monde met le son plus fort, si bien que des pluies de données
se déversent en masse dans nos intérieurs, mais d’autre part ces
milliers de données ne nous sont pas livrées brutes et sont impropres à
l’absorption immédiate, car emballées ; le déballage de paquets
constitue une bonne partie de nos activités d’écriture</em>. ». Dès lors
Emmanuelle Pireyre et Toog jouent à déjouer tous les systèmes de la
parole et de l’écriture. Ping-pong ou tennis, le duo nous fait sauter
d’un sujet à l’autre, des OGM aux sauterelles, de la Bible à Faulkner,
de la poésie aux staphylocoques. La chansonnette sur les moustiques et
les grenouilles fait écho à un schéma complexe où tout est relation.
C’est la mise en perspective des répercussions de la <em>singularité </em>sur la <em>multitude </em>: « Tu manges un glaçon à Mexico » « Et je frissonne à Toronto ». Une performance <em>work in progress</em>, de vidéos iront s’ajouter bientôt à ce jeu du <em>déjouement.</em><br />
<figure class="wp-caption aligncenter" data-shortcode="caption" id="attachment_8300" style="width: 450px;"><a href="https://diacritik.files.wordpress.com/2016/02/sans-titre9.png" rel="attachment wp-att-8300"><img alt="Mazen Kerbaj" class="size-hive-masonry-image wp-image-8300" height="450" src="https://diacritik.files.wordpress.com/2016/02/sans-titre9.png?w=450&h=450" width="450" /></a><figcaption class="wp-caption-text">Mazen Kerbaj</figcaption></figure>
<em>Quatrième station </em>: Mazen Kerbaj continue de faire partager
au spectateur l’expérience du décloisonnement. La trompette sort de son
périmètre, elle émet ainsi des sons qui convoquent les plusieurs
possibilités du souffle. C’est ainsi qu’un tube d’arrosage servira à
prolonger ses sonorités modulées et modulables. L’instrument de musique
rencontre les objets les plus divers et variés pour rejoindre la planète
brouhaha.<br />
<figure class="wp-caption aligncenter" data-shortcode="caption" id="attachment_8301" style="width: 450px;"><a href="https://diacritik.files.wordpress.com/2016/02/sans-titre10.png" rel="attachment wp-att-8301"><img alt="Chloé et Jérôme Game" class="size-hive-masonry-image wp-image-8301" height="450" src="https://diacritik.files.wordpress.com/2016/02/sans-titre10.png?w=450&h=450" width="450" /></a><figcaption class="wp-caption-text">Chloé et Jérôme Game</figcaption></figure>
<em>Cinquième station</em> : Chloé et Jérôme Game plongent, quant à
eux, le spectateur dans un univers de sons et de mots. L’électronique se
joint à la pratique plastique de la parole pour mettre en scène un tour
virtuel du monde. Le brouhaha flotte dans l’air. Bons baisers du
Contemporain.<br />
<br />
<strong>Lionel Ruffel, <em>Brouhaha. Les mondes du contemporain, </em>éditions Verdier, 2016, 212 p., 15,80 € — <a href="https://diacritik.files.wordpress.com/2016/02/brouhaha_extrait.pdf" target="_blank" title="Brouhaha_extrait">Lire un extrait en pdf</a></strong><br />
Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-58518298790471969372016-01-03T20:53:00.002+01:002016-01-03T20:53:19.532+01:00les voeux de MonEx - nouvelle vidéo<span style="font-family: "Courier New",Courier,monospace;">Participation image et musique à la dernière vidéo du groupe MonEx :</span><br />
<br />
<a href="https://vimeo.com/150530188">https://vimeo.com/150530188</a>Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-30514486862018368542015-12-09T12:32:00.000+01:002015-12-09T12:32:09.739+01:00Zooschool, la (vera) scuola degli orrori<br />
<div class="entry-meta">
<div class="meta-info">
<span><em>
Di <a href="http://www.inchiestasicilia.com/author/massimo-arciresi/" rel="author" title="Articoli scritti da: Massimo Arciresi">Massimo Arciresi</a> / 27 novembre 2015 </em></span></div>
</div>
<div style="margin-bottom: 20px;">
<img alt="zoo school" class="img-responsive wp-post-image" height="640" src="http://www.inchiestasicilia.com/wp-content/uploads/2015/11/zoo-school-e1448605315291.jpg" width="447" /></div>
<strong>Il
primo lungometraggio del regista indipendente Andrea Tomaselli, Zoo
School, passa attraverso il genere per parlarci di problemi reali.</strong><br />
<strong>di Massimo Arciresi</strong><br />
<br />
Il grande schermo rimane il miglior modo per fruire di un film, e su
questo non si discute. Tuttavia oggi esistono canali alternativi
progressivamente più numerosi, dalla televisione ai dvd, dalla <em>pay per view</em> allo <em>streaming</em>
(legale, non c’è bisogno di specificarlo). In un momento in cui
l’industria cinematografica è costretta ad adattarsi alle moderne
tecnologie e in una fase nella quale i nuovi cineasti desiderano
diffondere i loro lavori senza dover supplicare produttori e/o
distributori sempre meno disposti a investire e – di fatto – a
rischiare, non è detto che sia un male. Anzi, è una maniera per farsi
conoscere rapidamente, soprattutto se si propone un risultato di
qualità.<br />
Per esempio, è una meritevole opportunità (che non esclude
naturalmente auspicabili future programmazioni in sala) per il
quarantaduenne catanese <strong>Andrea Tomaselli</strong>, insegnante di
Italiano e Storia a Settimo Torinese e di Sceneggiatura e Regia presso
la Scuola Holden di Torino, debuttante nel lungometraggio di finzione –
dopo una fitta esperienza fra racconti, copioni e corti – con<strong> <em>Zoo School</em>,</strong> girato nel 2013 e dal giugno 2015 reperibile, a costi irrisori di noleggio e vendita, su Vimeo (<a href="http://www.zooschoolthemovie.com/">www.zooschoolthemovie.com</a>), opera che proprio nella scrittura tematica e nell’attenta direzione degli attori ha i suoi pregi maggiori.<br />
<br />
Ambientata sapientemente all’interno dell’istituto professionale dove
Tomaselli è in organico, la trama è incentrata su varie vicende
paradigmatiche dello stato attuale della scuola italiana, con un
professore di sostegno che si sbraccia ai consigli di classe perché non
ci siano disparità di diritti fra gli allievi, due studenti (con
simbolico cane al seguito) presi di mira, una preside dispotica, una
vicepreside cinica, docenti esauriti, sottomessi, profittatori, un
alunno fragile, un altro irrequieto, una bidella insospettabilmente
sadica, una psicologa volenterosa. Ognuno di loro ha qualcosa da
nascondere o da rimproverarsi, da subito o nel corso della narrazione.
Che, bisogna sottolineare, attinge senza strafare da degradi – umani e
legislativi – veri o verosimili (peraltro inerenti a temi scottanti come
l’immigrazione, l’emarginazione, la tossicodipendenza, la pedofilia),
per poi deflagrare in un finale tanto cruento quanto calibratamente
allegorico, annunciato in sordina dal prologo e coerentemente privo di
speranze. Se alla bravura di regista e interpreti (fra loro il più noto è
Natalino Balasso, ben distante dal suo cabaret) aggiungiamo la notevole
perizia del montaggio – per una durata complessiva adeguatamente
“secca” di appena 78 minuti, compresi i dettagliati titoli di coda (la
capacità di concisione spesso manca agli esordienti) – e l’accuratezza
della fotografia, l’efficacia delle musiche, la credibilità di dialoghi
non artefatti, possiamo tranquillamente asserire di essere di fronte a
un prodotto di alto livello, rifinito nei particolari (persino le
immancabili citazioni di classici restano educatamente sommesse):
davvero pochissime le imperfezioni, anche in considerazione delle
limitate risorse a disposizione. Fra i finanziatori collabora Michele
Fornasero, che di recente ha firmato il bel documentario <em>SmoKings</em>;
un’attenzione, la sua, che conferma ulteriormente la nascita di un
autore da seguire. Dategli più mezzi (privi di steccati) e ci stupirà!<br />
<br />
<a href="http://www.inchiestasicilia.com/2015/11/27/zoo-school/">http://www.inchiestasicilia.com/2015/11/27/zoo-school/</a>Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-67648814845127374662015-12-09T12:29:00.000+01:002015-12-09T12:29:01.830+01:00ZOOSCHOOL is back !<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXu-dn3QblHdXNzW807EKyBUTBJEAo3_mvYu9Jav5xotaQtnOvlPqqf5iyCtt1gzSJn6tGzdot8Gv52fLJqrSFuMrNt7738Sg8tcUNsOP0gRScEek3rygo97euCzatsVBmqTkPXFkM1w/s1600/zooschool+il+manifesto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXu-dn3QblHdXNzW807EKyBUTBJEAo3_mvYu9Jav5xotaQtnOvlPqqf5iyCtt1gzSJn6tGzdot8Gv52fLJqrSFuMrNt7738Sg8tcUNsOP0gRScEek3rygo97euCzatsVBmqTkPXFkM1w/s640/zooschool+il+manifesto.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Il manifesto - Maria Grosso</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<span id="goog_1970331873"></span><span id="goog_1970331874"></span><br />
Psicopatologia da una scuola quotidiana. Istituto superiore
professionale. Visioni che si infrangono su sbarre e muri; corridoi come
passaggi minati, traiettorie caotiche di esseri apparentemente umani
(ancora per quanto?): studenti, personale Ata, personale docente – nella
versione di ruolo, o in quella fantasmatica prodotta dalla precarietà
migrante – “personale telefonico-portatile”, dirigente, collaboratrice
della dirigente, eventualmente un dobermann nella telecamera a circuito
chiuso, una sola psicologa (!), e aria gelida sbattuta in faccia da un
inverno del nord Italia. Manco a dirlo, piove. A ogni goccia di
frustrazione iniettata in vena di uno dei protagonisti può corrispondere
il veleno di una sopraffazione uguale e contraria. Anzi no, peggiore.
“I piranha non dubitano della bontà delle proprie azioni” (ci inchioda
Szymborska). Sebbene non ricorrano a psicofarmaci e cocaina. Che sia da
parte di una docente dare a due ragazzi dei “minorati mentali” per poi
farli condannare alla bocciatura se reagiscono, o ancora umiliare il
collega del sostegno, imponendogli, ottuse schede valutative, o ancora
di un altro professore, ricattare sessualmente uno studente con il
cellulare che gli ha appena sequestrato … fino a quando questo sostrato
debordante di misfatti si tratterrà dall’esondare in tutta la sua
virulenza di crimini non più nascondibili? (E cosa proveremo noi allora,
innanzi a questo labirinto di sistema che crolla – fino all’ultima
autoassolutoria etichetta della “buona scuola” — dove ci rifletteremo in
questo puzzle di specchi vittima-carnefice, dove posizioneremo
i confini tra sacrosanta reattività e distruttiva cancellazione
dell’altro?). E poi. Fino a quando ci sarà qualcuno a resistere a tutto
questo, ad agire correttamente la propria professionalità nei confronti
del ragazzo disabile – quello del sostegno uno degli snodi più delicati
e cruciali — a opporsi ai deviati usi del potere del collegio docenti,
a difendere i ragazzi dalla loro stessa inconsapevolezza (che vuoi che
sia ripetere un anno, prof?), dal loro filtrare anche la morte violenta
dallo scafandro del telefonino, senza sentire nulla col corpo e con
gli occhi?<br />
<br />
Sono stranianti suggestioni da <strong>Zooschool, primo magmatico coraggioso lungometraggio di Andrea Tomaselli</strong>,
una visionarietà che coinvolge innanzitutto per il suo scaturire da una
esperienza diretta di docenza (il set, lo stesso istituto di Settimo
Torinese dove il regista insegna), l’esito di 6 anni di ricerca
sbattimento gioie tra i meandri sanamente imperfetti del cinema
a bassissimo budget.<br />
“La scuola caro, è indispensabile. Senza di essa l’uomo crescerebbe
in preda agli istinti, che sono cattivi, e soprattutto al più terribile
di essi che è l’istinto della libertà. Tu vuoi essere libero?”. Si legge
in un dialogo censurato di Sandro Bajini, datato 1961…<br />
<br />
Interrogandoci su cinema scuola e libertà, abbiamo invitato Andrea Tomaselli a conversare.<br />
<strong>In che modo il tuo luogo di lavoro come insegnante è diventato anche quello come regista.</strong><br />
Decisivo è stato un romanzo, Control, che ho ultimato nel 2009.
Volevo fare il punto sui miei primi anni di esperienza come docente. Ci
tengo ad adoperare questa parola, perché Danilo Dolci che considero il
mio maestro, ci faceva riflettere su come il sostantivo “insegnante”,
che più spesso usiamo, significhi fare un segno sull’alunno, sempre lo
stesso su ognunoa, dunque producendo passività e omologazione. Invece
“docente” è chi è capace di tirare fuori maieuticamente le nostre
risorse individuali, uniche. Control lo hanno letto diverse persone e lo
hanno subito percepito come un film …<br />
<br />
<br />
<strong>Zooschool mi ha toccato per la sua ruvidezza ben poco
consolatoria. Come hai lavorato sul filo di queste psicopatologie pronte
a debordare?</strong><br />
Amo frequentare i territori al confine tra “normalità” e “follia”. Di
recente, sulla piattaforma Feltrinelli ho pubblicato un racconto su un
padre che ha cresciuto figlio e figlia nella convinzione che fuori
imperi la peste, motivo per cui tiene entrambi sequestrati in una casa
di campagna… Ecco, in questo caso ho indagato le paure genitoriali, ma
più in generale credo che la nostra società apparentemente civile ed
evoluta si fondi su presupposti vicinissimi alla follia. Anni fa, tra
quei volumetti a mille lire, uscì il libercolo di Papalagi, un samoano
in viaggio per l’Europa ai primi del ‘900. Le nostre città gli
apparivano come un enorme manicomio …<br />
<br />
<br />
<strong>E la scuola?</strong><br />
È l’ambiente in cui lavoro, che amo, però sono conscio di quanto in
realtà sia l’istituzione della follia dentro la follia. Partiamo dal
presupposto che è un luogo dove i ragazzi sono costretti a fare qualcosa
che non vogliono. Quando la scuola è nata nel Medioevo, la gente voleva
fortemente imparare (dal latino “studēre”, desiderare). All’origine
c’era un desiderio immane di conoscere, che siamo riusciti a trasformare
nell’esatto opposto. Abbiamo una scuola vecchissima. Ma la cosa più
grave è che nei libri dei pedagogisti ci sono già da tempo tutte le
risposte. Come se i medici avessero pubblicato come si fa la colonscopia
o l’ecodoppler e nessuno li usasse.<br />
<br />
<br />
<strong>E le storie che racconti in Zooschool in particolare da dove muovono?</strong><br />
Le reazioni estreme di uno dei personaggi si rifanno a fatti accaduti
in una scuola tedesca. Ma anche gli altri rami che compongono il film
sono ispirati da vicende che ho conosciuto direttamente o che mi hanno
raccontato dei colleghi. L’episodio dei ragazzi bocciati perché si erano
permessi di dire a un docente che non sapeva insegnare è qualcosa cui
ho assistito e su cui ho masticato amaro per anni.<br />
<br />
<br />
<strong>Dal film arriva forte il sadismo che impregna i rapporti tra
studenti e professori e tra i docenti (citi il buddismo di Nichiren
Daishonin). Quanto questa rete distorta si fonda sull’indifferenza/
connivenza di larga parte della società?</strong><br />
Se si continua a essere compressi in quella che è spacciata come
normalità, la violenza è sempre pronta a deflagrare: non solo quella
fisica, la più eclatante, ma quella psicologica e verbale, che è causa
di mutilazioni psichiche e automutilazioni e che non viene mai
denunciata perché è parte integrante della nostra società. La trovi
negli ambienti di lavoro, nelle famiglie, e la trovi dentro la scuola,
cosa assolutamente normale. Tutte le persone cui facevo leggere la
sceneggiatura, tutte, mi dicevano, mi ha ricordato quel professore che
ha eroso anni della mia vita. Ecco, dobbiamo operare prima che si
inneschi tutto questo.<br />
<br />
<br />
<strong>Che cosa significa cinema horror per te, e come lo hai interpretato in Zooschool.</strong><br />
Una delle scommesse è stata quella di mettere accanto due orrori,
quello visivo del corpo insanguinato e quello psico-sociale più
strisciante. Volevamo far rabbrividire lo spettatore più di quanto non
gli capiti con un certo horror che in realtà lo anestetizza. Per me
“horror” è Rosemary’s Baby di Polanski, non tanto cinema dagli anni ’80
in poi. Una montatrice inglese ha parlato di Zooschool come di un
“social horror”, visione cui mi sento vicino.<br />
<br />
<br />
<strong>Quali riferimenti nel mare della “cinematografia-Zero in condotta” hai avuto in testa.</strong><br />
Mi sembrava mancasse un certo sguardo. Certo, c’era Elephant di Gus
Van Sant, ma era un film troppo importante e lo abbiamo rivisto solo per
evitare la tentazione di “rifarlo”. In seguito, ho scoperto
Afterschool, che mi ha attratto. Mi ha ispirato anche l’atmosfera di
Quel pomeriggio di un giorno da cani di Pollack, che comincia come un
film d’azione e poi si apre a una denuncia sulla società americana, a un
clima esasperato, al confine tra grottesco e verosimile. Qualcosa su
cui abbiamo lavorato con gli attori, ricercando una misura tra realismo
e finzione abbastanza dichiarata.<br />
<br />
<br />
<strong>A cosa pensi se ti dico ‘blu’.</strong><br />
È il colore dominante del finale, della violenza ultima. Con questi
toni freddi volevamo rendere il cadaverico e il metallico, l’essere
fuori dalla vita senza più possibilità di schiarite. Tutto il resto sono
colori caldi, a produrre una sorta di struggimento verso quello che nel
cinema si chiama “stato di grazia apparente”, un tempo in cui ci si
poteva ancora salvare.<br />
Il corpo è uno dei luoghi in rovina del film.<br />
Sento fortemente il dualismo cristiano di cui è impregnata la nostra
cultura e avverto una pulsione a recuperare l’unione di carne e idea. Il
mio è uno sguardo di pietà verso quel corpo che è continuamente svilito
violato negato costretto al dimagrimento, ma anche un rammarico nei
confronti di me stesso, di una parte della mia vita, una ferita che
inevitabilmente viene fuori.<br />
<br />
Maria Grosso<br />
<a href="http://ilmanifesto.info/zooschool-un-horror-sociale/">http://ilmanifesto.info/zooschool-un-horror-sociale/</a>Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-7845093613561716252015-12-04T17:28:00.000+01:002015-12-04T17:28:09.160+01:00Conférence-performance Clown-Philosophie à la Maison Pop de Montreuil<div class="surtitre">
<br /></div>
<h1 class="titre" title="Clown et Philosophie">
Clown et Philosophie</h1>
<div class="date">
Vendredi 6 novembre 2015 à 20 h 30</div>
<div class="interval">
</div>
<div class="vernissage">
Conférence-performance
</div>
<div class="texte">
Présenté par <strong>Violaine Chavanne</strong>,
professeur de philosophie, comédienne, metteur en scène et chercheuse
au LAPS (Laboratoire des Arts et Philosophies de la scène), où elle mène
un atelier pratique de recherche explorant les affinités entre le clown
et la philosophie.<br />
Accueillie en résidence à la Maison Populaire et accompagnée par <strong>Raffaella Gardon</strong>, comédienne, metteur en scène, artiste associée du LAPS,
elle a approfondi ce travail avec une dizaine de clowns et exploré en
quoi le clown est en lui même une machine philosophique : machine dont
le moteur premier, comme pour le philosophe, est l’étonnement ; dont la
puissance est métaphysique, puisqu’il transforme l’insignifiant en
quelque chose de résolument existentiel ; mais aussi machine politique,
arme subversive, puisque le clown convertit ses échecs en situation
comique, ses faiblesses en force.<br />
<br />
En partenariat avec la compagnie Tant pis pour la Glycine.<br />
<span class="vignette spip_documents spip_documents_center">
<img alt="" src="http://maisonpop.fr/IMG/jpg/luc-crochez-clown-philo_web.jpg" /></span></div>
Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-46885320125457114302015-10-07T17:24:00.000+02:002015-10-07T17:24:32.877+02:00quelques photos extraites du nouveau book by Gabriele Ciavarra<br />
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<a href="http://www.gabrieleciavarra.com/">http://www.gabrieleciavarra.com/</a>Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-59820686474449357022015-09-11T13:45:00.000+02:002015-09-11T13:45:15.935+02:00ASSENZA - Euridice e Orfeo - Valeria Parrella, Davide Iodice - Teatro Bellini - Foto<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjljtE_o-qCCAXzy_N4Vh4NcU1nd31kq0g87nrWzjU_DBkCD9QztLMhdgQOCvRccK1JgPnSExO01UvvrCxzsGHA9P12FkrJc8WSmdPr_YVVl5jJssJeTHBKJt2NDZg0jeyJDt4jRNenVfM/s1600/NtfiProva22062015EuridiceOrfeoPhSalvatoreSalvatore3S7A0281.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjljtE_o-qCCAXzy_N4Vh4NcU1nd31kq0g87nrWzjU_DBkCD9QztLMhdgQOCvRccK1JgPnSExO01UvvrCxzsGHA9P12FkrJc8WSmdPr_YVVl5jJssJeTHBKJt2NDZg0jeyJDt4jRNenVfM/s640/NtfiProva22062015EuridiceOrfeoPhSalvatoreSalvatore3S7A0281.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">
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--></style>Raffaella Gardon, Federica Fracassi, Davide Compagnone - foto: Salvatore Pastore</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Davide Compagnone, Michele Riondino - foto: Salvatore Pastore</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Raffaella Gardon, Federica Fracassi, Davide Compagnone, Michele Riondino, Guido Sodo - foto: Salvatore Pastore</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Raffaella Gardon, Federica Fracassi - foto: Salvatore Pastore</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFekEY98Y8jpbD3qeROIRcUVOBpfwUa3WEoWRrMpx_sarPEZND7I_oyPgFpdY6ETpq35tAeHBrtsQjEpf74OGDONKJhDOuX9Oeyr6NTQhAPHpVzY1a_BFy2KUuRsD4uOfiZgHMvFxlvLU/s1600/NtfiDeb23062015EuridiceeOrfeophsalvatorepastore3S7A1992.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFekEY98Y8jpbD3qeROIRcUVOBpfwUa3WEoWRrMpx_sarPEZND7I_oyPgFpdY6ETpq35tAeHBrtsQjEpf74OGDONKJhDOuX9Oeyr6NTQhAPHpVzY1a_BFy2KUuRsD4uOfiZgHMvFxlvLU/s640/NtfiDeb23062015EuridiceeOrfeophsalvatorepastore3S7A1992.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Federica Fracassi, Michele Riondino - foto: Salvatore Pastore</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Federica Fracassi, Michele Riondino, Raffaella Gardon - foto: Salvatore Pastore</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Raffaella Gardon, Michele Riondino, Guido Sodo - foto: Salvatore Pastore</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Raffaella Gardon, Michele Riondino - foto: Salvatore Pastore</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Davide Iodice, Davide Compagnone, Tiziano Fario, Valeria Parrella, Federica Fracassi, Raffaella Gardon, Michele Riondino, Guido Sodo - foto: Salvatore Pastore</td></tr>
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<br />Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-42104805935956222032015-08-10T15:36:00.000+02:002015-08-10T15:36:16.090+02:00PROGRESSION c'est ce samedi !<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "Courier New",Courier,monospace;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfOxpQ7Q_RPHirn27feXBeqzSF_98tC0oLCKoy4WEZ5Tm5FphXJp9kwaE9woDW5pnS2shnLxBATinKo9I0ZsB65cnsxVHZrgVoFrdE3MkspRl-NabWD7B0W0YkMazDDJYZ5jvn4Qcn5SM/s1600/PROGRESSION+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfOxpQ7Q_RPHirn27feXBeqzSF_98tC0oLCKoy4WEZ5Tm5FphXJp9kwaE9woDW5pnS2shnLxBATinKo9I0ZsB65cnsxVHZrgVoFrdE3MkspRl-NabWD7B0W0YkMazDDJYZ5jvn4Qcn5SM/s1600/PROGRESSION+3.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">© mathieu merlet-briand, 2015</span></span></td><td class="tr-caption" style="text-align: center;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> </span></span></td><td class="tr-caption" style="text-align: center;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> </span></span></td><td class="tr-caption" style="text-align: center;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> </span></span></td><td class="tr-caption" style="text-align: center;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> </span></span></td><td class="tr-caption" style="text-align: center;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> </span></span></td></tr>
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<span style="font-family: "Courier New",Courier,monospace;">Et n'oubliez pas que vous pouvez nous soutenir en allant ici :</span><br />
<span style="font-family: "Courier New",Courier,monospace;"><a href="http://fr.ulule.com/progression/" rel="nofollow" target="_blank">http://fr.ulule.com/progression/</a></span><br />
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<span style="font-family: "Courier New",Courier,monospace;">Merci ! </span>Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-40708290531265604332015-07-27T15:45:00.002+02:002015-07-27T15:45:18.474+02:00Compte-rendu n°1 de la résidence du 25, 26 avril à La Nef - Manufacture d'Utopie<a href="http://labo-laps.com/compte-rendu-n1-de-la-residence-la-jeune-fille-aux-mains-coupees/">http://labo-laps.com/compte-rendu-n1-de-la-residence-la-jeune-fille-aux-mains-coupees/</a>Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-78856009185210290992015-07-24T09:46:00.001+02:002015-07-31T16:28:39.595+02:00PROGRESSION - work in progress<br />
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<span style="font-family: "Courier New",Courier,monospace;">Progression</span></h1>
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<span style="font-family: "Courier New",Courier,monospace;">Collaboration artistique de Gaëtan Brun-Picard et Mathieu Merlet-Briand / création in-situ pour « la ferme du Bonheur »</span></div>
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La marche, acte de pénétration au monde, premier déplacement, première danse.<br />
La marche, mouvement initiateur, début du progrès.</span><br /><span style="font-family: "Courier New",Courier,monospace;">
La marche, succession de déséquilibres d’un corps cherchant à rattraper sa chute.</span></div>
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</span><span style="font-family: "Courier New",Courier,monospace;">Dans une réalité confuse par son environnement numérique.</span><br /><span style="font-family: "Courier New",Courier,monospace;">
L’homme décidé avance, accélère, prend le rythme.</span><br />
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</span><span style="font-family: "Courier New",Courier,monospace;">Au croisement des contraires, un processus est en cours.<br />
Une nouvelle réalité est en marche, une matérialité numérique. </span>
<span style="font-family: "Courier New",Courier,monospace;"></span><br /><span style="font-family: "Courier New",Courier,monospace;"><a href="http://mathieumerletbriand.com/">Mathieu Merlet-Briand</a></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFxMk4b6XyQK04oGfSt9TbYXuEkigIM-D-pvWiRWHvepDJgaHSGdER_0Z3LHVMDz5K5LQlMqh0_iPJzuA8CFG2R0xRROHWarvmJ7CqEcRBNJKyilI9PO6S3_Y1TA10IUFsmjWf2ifAw5g/s1600/PROGRESSION.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFxMk4b6XyQK04oGfSt9TbYXuEkigIM-D-pvWiRWHvepDJgaHSGdER_0Z3LHVMDz5K5LQlMqh0_iPJzuA8CFG2R0xRROHWarvmJ7CqEcRBNJKyilI9PO6S3_Y1TA10IUFsmjWf2ifAw5g/s640/PROGRESSION.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">© mathieu merlet-briand, 2015</span></span></td></tr>
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<span style="font-family: "Courier New",Courier,monospace;">Le 15 août à 21h à la Ferme du Bonheur - Nanterre </span><br />
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<span style="font-family: "Courier New",Courier,monospace;"><span class="fsl"><span class="text_exposed_show">PROGRESSION est issu
d’une réflexion sur la perception de notre environnement numérique. Au
travers d'une étude autour de la marche pensée comme premier acte et
premier mouvement, un paysage en interférence entre réel et virtuel se
compose. Dans ce milieu, l’homme marche, avance en prise avec les
perspectives d’un progrès en constante expansion. À la croisée de deux
espaces, entre naturel et digital, une autre réalité se compose,
ambivalente, une matérialité numérique. <br /> <br /> Nous serions ravis de vous accueillir lors de cet évènement :) </span></span></span><br /><span style="font-family: "Courier New",Courier,monospace;"><span class="fsl"><span class="text_exposed_show"> </span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKEo5YiDDXUTTiG6Kw8Fk8SEA8ZYnEkdrgdvDdr-8EgMyXqwngVP_Yw6WGiijERQJf6vETB3u5q0cRx78Tbxet5JKnzgOv6N6dmB76Ey6Yem2LgtwkptgPuY8RpGRsrHbQ190u070jteA/s1600/mail_PROGRESSION_img-1+%2528glisse%25CC%2581%2528e%2529s%2529.tiff" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKEo5YiDDXUTTiG6Kw8Fk8SEA8ZYnEkdrgdvDdr-8EgMyXqwngVP_Yw6WGiijERQJf6vETB3u5q0cRx78Tbxet5JKnzgOv6N6dmB76Ey6Yem2LgtwkptgPuY8RpGRsrHbQ190u070jteA/s640/mail_PROGRESSION_img-1+%2528glisse%25CC%2581%2528e%2529s%2529.tiff" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">© mathieu merlet-briand, 2015</span></span></td><td class="tr-caption" style="text-align: center;"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> </span></span></td></tr>
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<span style="font-family: "Courier New",Courier,monospace;"><span class="fsl"><span class="text_exposed_show">Équipe PROGRESSION <br /> <br /> Mathieu Merlet-Briand<br /> <a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fnumericaltexture.tumblr.com%2F&h=RAQGBU68G&enc=AZPa8RKE5WPuLBli1pdwx2K6sh_xiZSIbeiiBnv2wUkvEfCJFp1FfblXd1UoJye_Cmw&s=1" rel="nofollow nofollow" target="_blank">numericaltexture.tumblr.co<wbr></wbr><span class="word_break"></span>m</a><br /> <br /> Gaëtan Brun-Picard<br /> <a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fcollectifwork.com%2F&h=cAQFj-Fwv&enc=AZPoTKTZ26Rx6EDSCYHj0NgAgwrVgKcPENhH2eu5v4ZPndFyocxEMieNl_ObbJSowu8&s=1" rel="nofollow nofollow" target="_blank">collectifwork.com</a><br /> <br /> Danseurs <br /> Inés Hernández<br /> Raffaella Gardon <br /> Tatanka Gombaud<br /> Mai Ishiwata<br /> <br /> Design Sonore <br /> Yes Soeur <br /> <br /> Scénographie <br /> Lucie Calise <br /> <br /> Assistant photo et video <br /> Kiana Hubert Low <br /> Thomas Vauthier <br /> <br /> Assistant communication<br /> Pauline Cormault <br /> Juliette Ouvry <br /> Charlotte Heninger<br /> <br /> Ingénieur <br /> Thierry Briand <br /> <br /> Projet conçu et développé au sein d’EnsadLab <br /> <br /> Projet soutenu par : <br /> La Ferme du Bonheur </span></span></span><br /><span style="font-family: "Courier New",Courier,monospace;"><span class="fsl"><span class="text_exposed_show"> En accueil studio au Point FMR</span></span> </span></div>
Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-49340160744054678492015-06-22T10:27:00.002+02:002015-06-22T10:27:51.804+02:00Euridice e Orfeo di Valeria Parrella, regia Davide Iodice su Memo Teatro L'agenda Culturale - replay del giovedi 18 giugno <span style="font-family: "Courier New",Courier,monospace;"><a href="http://www.rai.tv/dl/replaytv/replaytv.html?day=2015-06-18&ch=31&v=529635&vd=2015-06-18&vc=31#day=2015-06-18&ch=31&v=529635&vd=2015-06-18&vc=31">Memo Teatro L'agenda Culturale</a> ancora disponibile per qualche giorno per chi vuole avere un'idea dello spettacolo prima di venirci avederci in scena il</span><br />
<span style="font-family: "Courier New",Courier,monospace;">martedi 23 e mercoledi 24 giugno, ore 21.30 al Teatro Bellini</span><br />
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<br />Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-5164811357781528512015-06-17T12:39:00.000+02:002015-06-17T12:39:05.691+02:00Last week before the opening ! <span style="font-family: "Courier New",Courier,monospace;">Lost between strings and trees...</span><br />
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<tr><td class="tr-caption" style="text-align: center;">photo : Raffaella Gardon</td></tr>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: large;">EURIDICE E ORFEO</span></span><br />
<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: large;"> </span></span><br />
<span style="font-family: "Courier New",Courier,monospace;"><strong>BY</strong> VALERIA PARRELLA</span><br />
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<span style="font-family: "Courier New",Courier,monospace;"><strong>WITH</strong> MICHELE RIONDINO, FEDERICA FRACASSI, DAVIDE COMPAGNONE, RAFFAELLA GARDON</span>
<span style="font-family: "Courier New",Courier,monospace;"><strong> </strong></span><br />
<span style="font-family: "Courier New",Courier,monospace;"><strong>LIVE MUSIC</strong> GUIDO SODO, RAFFAELLA GARDON</span>
<span style="font-family: "Courier New",Courier,monospace;"><strong> </strong></span><br />
<span style="font-family: "Courier New",Courier,monospace;"><strong>SET AND COSTUME DESIGN</strong> TIZIANO FARIO</span>
<span style="font-family: "Courier New",Courier,monospace;"><strong> </strong></span><br />
<span style="font-family: "Courier New",Courier,monospace;"><strong>ORIGINAL MUSIC</strong> GUIDO SODO</span>
<span style="font-family: "Courier New",Courier,monospace;"><strong> </strong></span><br />
<span style="font-family: "Courier New",Courier,monospace;"><strong>DIRECTED BY</strong> DAVIDE IODICE</span>
<span style="font-family: "Courier New",Courier,monospace;"><strong> </strong></span><br />
<span style="font-family: "Courier New",Courier,monospace;"><strong>PRODUCTION</strong> FONDAZIONE TEATRO DI NAPOLI</span><br />
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<span style="font-family: "Courier New",Courier,monospace;"><strong>DATES</strong> 23, 24 JUNE (H. 21.30)</span>
<span style="font-family: "Courier New",Courier,monospace;"><strong> </strong></span><br />
<span style="font-family: "Courier New",Courier,monospace;"><strong>VENUE</strong> TEATRO BELLINI</span>
<span style="font-family: "Courier New",Courier,monospace;"><strong> </strong></span><br />
<span style="font-family: "Courier New",Courier,monospace;"><strong>RUNNING TIME</strong> 1H 30MIN</span>
<span style="font-family: "Courier New",Courier,monospace;"><strong> </strong></span><br />
<span style="font-family: "Courier New",Courier,monospace;"><strong>LANGUAGE</strong> ITALIAN</span><br />
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<span style="font-family: "Courier New",Courier,monospace;">Valeria Parrella has elaborated the myth of Orpheus and Eurydice with
a contemporary key; a new production to be directed by Davide Iodice.
In her notes, the author writes: «Gluck, Anouilh, Cocteau, but also
Bufalino, and Pavese: each of these authors has given a different
explanation why Orpheus turned to look at Eurydice when leaving the
underworld. Rilke’s words on this theme, perhaps inspired by a
bas-relief here in Naples in the archaeological Museum, are also moving.
Respexit is the verb traditionally used (by Virgil in Eclogues and Ovid
in The Metamorphoses), a verb that has no equivalent in Italian as it
means “to turn around”, but also embodies the root “respectum”,
pertaining to respect. Thus, I also give my respect to this gesture,
just like that bas-relief in which Hermes appears together with Eurydice
and Orpheus. I wrote a novel which then became theatrical text. A story
which is not real, but more oriented towards the philosophy and
psychology of loss, and coming to terms with death. This text has three
voices, but many other view-points».</span><br />
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<span style="font-family: "Courier New",Courier,monospace;">http://www.napoliteatrofestival.it/2015-edition/euridice-e-orfeo-en/</span>Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-70027648407315821402015-06-03T11:56:00.000+02:002015-06-03T11:56:09.396+02:00Euridice e Orfeo - Valeria Parrella /Davide Iodice - week 5<br />
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"...è l'insidia tra parvenza e realtà..." <br />
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<span style="font-size: x-small;"> photos : Raffaella Gardon</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZg5C26VyiM4gFThdaC1n-WpsCUV4JCUER3uW1jzgMvMjYpLFJkSWNdtA2w79d1XFAkqOKUANJ8vlltbtw0T1DCdfWtfqd2fRg2CTjdgFrWQRecgdvLztDieH0hwk9SiKvbBNA53rHKBc/s1600/IMG_3032.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZg5C26VyiM4gFThdaC1n-WpsCUV4JCUER3uW1jzgMvMjYpLFJkSWNdtA2w79d1XFAkqOKUANJ8vlltbtw0T1DCdfWtfqd2fRg2CTjdgFrWQRecgdvLztDieH0hwk9SiKvbBNA53rHKBc/s640/IMG_3032.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Federica Fracassi</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Michele Riondino</td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-46116976401065920452015-05-05T12:03:00.000+02:002015-05-05T12:03:00.493+02:00'ASSENZA - Euridice e Orfeo' di Valeria Parrella<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Cw0tQ8uL3IeS0yQRGs9FXWPauGZrdaqyEF4oiSM9JVMMsjrh1iz1gAkjoeJC9nMdMKrb9osy2ZZHutKOJEJYI44dshceoOWcEhJhDs2Uj8WLBaaY7KEwYDLHnvmlqH1qas3H64_vWr4/s1600/IMG_2886.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Cw0tQ8uL3IeS0yQRGs9FXWPauGZrdaqyEF4oiSM9JVMMsjrh1iz1gAkjoeJC9nMdMKrb9osy2ZZHutKOJEJYI44dshceoOWcEhJhDs2Uj8WLBaaY7KEwYDLHnvmlqH1qas3H64_vWr4/s640/IMG_2886.JPG" width="524" /></a> <br />
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Ieri al Teatro Bellini di Napoli, abbiamo cominciato le prove del nuovo
progetto di Davide Iodice con il testo di Valeria Parrella 'ASSENZA -
Euridice e Orfeo'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6zT5ePDnT63SUQgJQy-PODcHk3WVjUskRDmrJJoPOzJhT-uboQcAuN5ta_fzKI2fM1V7k2CoSoQ5CCx46a80-wCnyvtP2NvO2V-Qp8bTuEGXZIV4O69KsWSkQgso_x9RrjsDclghtXew/s1600/IMG_2887.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6zT5ePDnT63SUQgJQy-PODcHk3WVjUskRDmrJJoPOzJhT-uboQcAuN5ta_fzKI2fM1V7k2CoSoQ5CCx46a80-wCnyvtP2NvO2V-Qp8bTuEGXZIV4O69KsWSkQgso_x9RrjsDclghtXew/s640/IMG_2887.JPG" width="482" /></a> Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-16854784633408592282015-04-24T15:36:00.000+02:002015-04-24T15:36:17.549+02:0025, 26 avril : 1ère résidence de "la jeune fille aux mains coupées ou je me recompose (différemment)" - <span style="font-family: "Courier New",Courier,monospace;">Première résidence en vue pour La Jeune Fille aux mains coupées, projet de marionnette et danse, partenaire du Labo LAPS.<br />Les samedi 25 et dimanche 26 avril prochains, l’équipe du Labo LAPS ((Flore Garcin-Marrou, Anaëlle Impe, Noémie Lorentz, Arnaud Carbonnier) se retrouvera autour de Raffaella Gardon (porteuse du projet et metteure en scène), Shirley Niclais (dramaturge), Nicolas Rollet (auteur du texte) et Nora Lesne (factrice de la marionnette et scénographe) à la Nef - Manufacture d'Utopie.<br /><br />Ce sera l’occasion de revenir sur les questions soulevées lors de nos précédentes rencontres de recherche-création « Penser la marionnette » à l’Institut International de la Marionnette de Charleville-Mézières (IIM) et de travailler concrètement sur le plateau autour des premiers axes du projet : interaction entre le corps et l’objet, travaux de manipulation, travail de la voix off associée à une réflexion sur la nécessité de l’oralité dans l’adaptation contemporaine du conte, et parti-pris dramaturgique de l’usage de la vidéo.<br /><br />Programme :<br /><br />samedi 25 avril de 15h à 18h<br /><br />INTRODUCTION<br />Présentation des travaux du LAPS autour de la marionnette<br />Retours sur les résidences de recherche-création de janvier 2014 et février 2015 à l’IIM et bilan du colloque, « La Scène philosophique du théâtre de marionnettes », Université de Toulouse Jean-Jaurès, mars 2015<br /><br />CONTE ET IDENTITÉ<br />Narration et Oralité<br />Présentation de la marionnette<br />Discussion<br /><br />dimanche 26 avril 11h-18h<br /><br />RENCONTRE ACTEUR DE CHAIR/MARIONNETTE<br />Articulation - Improvisation - Voix sur une séquence spécifique<br />Discussion<br /><br />CORPS - VIDÉO<br />Morcellement, Interaction corps-vidéo, articulation scéno-vidéo<br />Occupation de l'espace corps-vidéo<br />Discussion<br /><br />BILAN DES 2 JOURS<br /><br />BIBLIOGRAPHIE :<br /><br />- Bricout, Bernadette, La clé des contes<br />- Anzieu, Didier, Le Moi-peau<br />- Bettelheim, Bruno, La psychanalyse des contes de fées<br />- Kleist, Heinrich (von), Sur le théâtre de marionnettes<br />- Estés, Clarissa Pinkola, Femmes qui courent avec les loups </span><br />
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<span style="font-family: "Courier New",Courier,monospace;"><a href="http://labo-laps.com/residence-a-la-nef-manufacture-dutopies/">http://labo-laps.com/residence-a-la-nef-manufacture-dutopies/</a></span>Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-8709887501367086362015-04-20T23:58:00.002+02:002015-04-20T23:58:36.585+02:00Newport Beach Festival - My movie like kissMon baiser de cinéma (my movie like kiss), sera projeté samedi 25 avril à 3.30pm dans le cadre du <a href="http://newportbeach.festivalgenius.com/2015/films/mymovielikekissmonbaiserdecinmaseerankmonbaiserdecinma_gianlucamatarrese_newportbeach2015#screenings"> Newport Beach festival</a><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUFkIjO3fCxFauQunVbedsNTZ4HXfgnPsWSaXZUimMhAL-eG8E0o4rg7BHKEB19BgbFwtDYdSEWumdevxk3DsRG-fG6r1oPqFl7QIj3Vtx5DdXThtYFWQU1xLo3V7PE7GCV_O7_D3noo0/s1600/071.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUFkIjO3fCxFauQunVbedsNTZ4HXfgnPsWSaXZUimMhAL-eG8E0o4rg7BHKEB19BgbFwtDYdSEWumdevxk3DsRG-fG6r1oPqFl7QIj3Vtx5DdXThtYFWQU1xLo3V7PE7GCV_O7_D3noo0/s1600/071.jpg" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photo : Olivier Bénier</td></tr>
</tbody></table>
Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-40700894952649897172015-03-19T19:38:00.002+01:002015-03-19T19:38:26.872+01:00projet photographique avec David Milh<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsSbRTjHyLkpRXhZKtVgeCAd8Aj8Ggj0DngLAd6RkK0Bo5MwoqMXdzcNJ2SYEBiwCRitg9AGs_FU01zUuxteo23ok4uIhB5mSRvmHxQSscZY8CBJmYvc9IQON2LDwCgYNti5bu83OzW6Q/s1600/raffaella+parking+david+milh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsSbRTjHyLkpRXhZKtVgeCAd8Aj8Ggj0DngLAd6RkK0Bo5MwoqMXdzcNJ2SYEBiwCRitg9AGs_FU01zUuxteo23ok4uIhB5mSRvmHxQSscZY8CBJmYvc9IQON2LDwCgYNti5bu83OzW6Q/s1600/raffaella+parking+david+milh.jpg" height="640" width="640" /></a></div>
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photo : David MilhAnonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0tag:blogger.com,1999:blog-6906926981175764685.post-13552880893265125412015-03-19T19:31:00.000+01:002015-03-19T19:42:56.986+01:00Compte-rendu de la résidence marionnette-philo du Labo Laps à l'Institut International de la Marionnette de Charleville-Mézières<span style="font-family: Courier New, Courier, monospace;"><br /></span>
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<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 1.0cm;">
<span style="font-size: 12pt; line-height: 150%;"><span style="font-family: Courier New, Courier, monospace;">Le dernier jour
de la résidence a ouvert la voie aux premières expérimentations pratiques du
projet porté par Raffaella Gardon "La jeune fille aux mains coupées
ou je me recompose (différemment)". Dans les locaux de l’ESNAM, nous avons
pu profiter d’une vaste salle de répétition pour initier les premiers essais de
manipulation de Chrysocolle, la marionnette fraichement conçue qui sera mise en
jeu. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 1.0cm;">
<span style="font-size: 12pt; line-height: 150%;"><span style="font-family: Courier New, Courier, monospace;">Shirley Niclais,
dramaturge du projet et marionnettiste, se prête à la manipulation, bientôt
rejointe par Shérazade Ferraj, élève de la nouvelle promotion de l’école qui
s’essaie à son tour au jeu de cette marionnnette 'portée-habillée' que nous
avons imaginée. Il s’agit d’une sorte d'armure ou de coquille. La manipulatrice
est complètement liée à la marionnette qui est attachée à sa robe, les pieds
scratchés sur ses chaussons, la tête reliée par des fils à sa <span style="mso-spacerun: yes;"> </span>propre tête. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 1.0cm;">
<span style="font-size: 12pt; line-height: 150%;"><span style="font-family: Courier New, Courier, monospace;">Première
étape : découverte du fonctionnement tête manipulatrice-tête marionnette.
Les mouvements de la tête doivent être très délicats pour insuffler le
mouvement à celle de Chrysocolle. Si le mouvement part de la tête, il doit être
suivi et soutenu par le torse de la manipulatrice pour un mouvement clair
scéniquement. Les mouvements aériens du corps fonctionnent très bien. La danse,
par exemple, est une action à développer car elle est très efficace avec ce
corps dégingandé et fait le lien avec toute la partie dansée de la jeune femme,
une fois la mue effectuée. Pendant ces tentatives, l'arrivée du soleil par le
velux du grenier, illuminant le visage de Chrysocolle par derrière, nous plaît
beaucoup. Nous le notons pour la création lumière. Nous notons également quelques
modifications techniques à apporter à la marionnette encore difficile à manier:
- la jambe droite fonctionne mieux car elle est plus longue, il faudra donc
rallonger la gauche - ouvrir la robe dans le dos jusqu'en bas - ajouter des
rotules pour éviter que les jambes ne se plient à l'envers, lorsque Chrysocolle
est en mouvement (marcher, s'asseoir etc...). Cet atelier est à titre
salvateur !<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 1.0cm;">
<span style="font-size: 12pt; line-height: 150%;"><span style="font-family: Courier New, Courier, monospace;">De toute cette
semaine, nous retenons plusieurs apports importants nourris par les discussions
passionnantes avec les autres participantes. Raphaèle Fleury nous a fait
découvrir les Otomé bunraku japonaises que notre dispositif de manipulation lui
rappelle. Cette version féminine du bunraku dont l’unique manipulatrice dirige
en partie son pantin à l’aide de fils qui relie leurs deux têtes nous était
tout à fait inconnue. Nous sommes très excitées par cette découverte. Des
recherches sont en cours pour en savoir plus et pouvoir assister à des
spectacles. Merci Raphaèle !<o:p></o:p></span></span></div>
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<span style="font-size: 12pt; line-height: 150%;"><span style="font-family: Courier New, Courier, monospace;">A la fin de
l’atelier, nous avons évoqué l’esthétique singulière de notre poupée de tissu
dont les coutures sont apparentes. Cela rappelle le squelette, les côtes, et la
vulnérabilité de ce personnage en cours de construction. Nous voulions aller
sous la douceur apparente que dégage de prime abord cette petite fille
'parfaite', faire entrevoir une possible blessure et sentir qu’une étape est à
dépasser. Anaëlle Impe a alors évoqué alors le 'Moi-peau' de Didier Anzieu :
lecture en cours ! Les premiers jalons de la prochaine résidence du LAPS autour
du projet et de la question de l’identité et sont donc posés. Rendez-vous à la
Nef de Pantin fin avril !</span><span style="font-family: Times New Roman;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 1.0cm;">
<span style="font-size: 12pt; line-height: 150%;"><span style="font-family: Courier New, Courier, monospace;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify; text-indent: 1.0cm;">
<span style="font-size: 12pt; line-height: 150%;"><span style="font-family: Courier New, Courier, monospace;"><br /></span></span></div>
<a href="http://labo-laps.com/compte-rendu-de-la-residence-philosophie-et-marionnettes/">http://labo-laps.com/compte-rendu-de-la-residence-philosophie-et-marionnettes/</a>Anonymoushttp://www.blogger.com/profile/09516147228134417870noreply@blogger.com0