Italy 2

I am continuing with the composition Italy 2 the work I have initiated in 2016 for the second edition of the En chair et en son Festival in Paris. It consists of using sounds, in particular voices, exclusively from vinyl records. For this composition which was imagined and thought as the title indicates it for the En chair et en son. Italy, I have used, for example, a record with cinema sound effects,  the  famous  Pour  en  finir  avec  le  dernier  jugement  de  Dieu  by  Antonin  Artaud or a version of 62 mesostics re Merce Cunningham of John Cage. The excerpts  from  the  records  are  selected,  recorded,  studied,  organized  and  eventually mixed in the tradition of acousmatic music. Here,  I  am  dealing  with  a  dialogue,  an  imaginary  encounter.  At  first  there  is  a  discussion, propositions, invectives. Possibly the protagonists are not on the same track.  But,  slowly,  the  time  for  agreement  and  harmony  comes.  The  time  of  listening. There is a possibility to do something together, to build something common. Then, calmness appears, tuning is possible. Softly, it turns into a dive, a curved fall, supple. Really ? It might as well be a path rewn with pitfalls. This composition is maybe the metaphora fo the encounter of this music with the body  of  a  possible  dancer.  What  is  going  to  happen,  on  stage,  for  a  dancer  confronted to this musical piece ? What effects will the sound have on the body of the dancer ? I remained faithfull, like in my previous accepted proposals for the second and third editions of En chair et en son in Paris, to what I was first very sensitive too in the hystory of Būto : ugly, grotesque, politic. Today even more, in the troubled period of elections in France, I can not avoid to hear this : the ugly grotesque politics. Beyond this ironical statement and following my word with fellow dancer Marek Jason  Isleib,  I  wanted  here  to  introduce  a  narrative  in  the  music  and  multiple  voices. With Marek I concentrate on a cold atmosphere, static, without a beginning  or  an  end  with  only  one  voice  that  may  be  the  one  of  Marek’s  body.  Here, I am proposing to the dancer to study the differents voices/paths that exists in his/her own body. Finally, the structure of the piece itself invites us to find an agreement (or not) between those voices/paths and also, possibly, the differents bodies of Būto.


Tags: Acusmatica 17

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