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 17View Project