[In vivo théâtre]
The aim of this project is to work on fantasy in theatre, its interaction between actors and music. The fantasy atmosphere has long permeated the creations of the day-for-night company, and is further developed in the latest creations, notably Nostalgie 2175, in a strong relationship with a musical dramaturgy that takes over part of the meaning and sensations.
Today we would like to explore this question of fantasy from the point of view of the actor, the stage writing and the textual material. The aim is to explore the sound dimension through the notions of montage and soundscape worked on by Jacques Tourneur and Lynch after him, and to experiment with how the protocols of fantastic cinema can be transposed to theatre. Tourneur and Lynch handle music and soundscape in continuity, which is also our case, and we combine this with the dimension of acting, and its necessary precise interaction with music and life.
This commitment to the subject of fantasy is linked to the desire to consider the contemporary world by moving away from a linear vision of history; ghosts, traces, departures from genealogies do indeed create spaces where temporality and geographies are recomposed.
It will therefore be a question of experimenting with the principles of precise articulation between acting, dramaturgy and music around this question of the fantastic, and developing a methodology for interaction between the living and the recorded, in order to find the limits of atmospheres and degrees of reality.
The suggested body of work will be that of Francophone women's writing, which, while not defining itself as fantasy, expands the boundaries of binary oppositions - visible/invisible; daytime/nocturnal; living/dead - and challenges our perceptual modalities. Starting with the universe of the author Ken Bugul, we noticed how rare female writing was within this body of work. It therefore seemed important to us to focus the project on these women and to explore this dimension of the female gaze, particularly as an escape from domination.
With the festival L'Univers des mots directed by Hakim Bah in Conakry and recent university research, we share the observation of a sort of blind zone with regard to these women's dramatic writings, so the researcher Amélie Thérésine will join us to build a repertoire of Afro-diasporic women authors and open up the field of this contemporary creation.
Two texts by French-speaking authors (Gaëlle Bien-aimé and Dodji do Rego) will be set to music by four composers and performed by the same group of actors, both students of the Conservatoire National Supérieur d'Art Dramatique and experienced actors. The composers will be supported by Nuria Gimenez Comas, composer, and the actors by Anne Monfort, director, and Laure Bachelier-Mazon, a playwright and a computer music director from Ircam.
The work will be presented at the T2G as part of Ircam's ManiFeste/In Vivo Théâtre Academy and will be carried out in partnership with the company day-for-night, the Theatre-Studio in Vitry and the Univers des mots festival in Conakry.
Nulle part by Kouam Tawa, directed by Anne Monfort with the 2021 CNSAD class ©Christophe Raynaud de Lage
4th October | Call for young composers launched
25th October, 21st, 23rd et 30th November | working session with the actors of the CNSAD
Autumn 2022 | constitution of the repertoire of Francophone women authors
December 2022 | selection of young composers
Tuesday 10th January 2023 | working session of young composers at Ircam
From 6th to 10th March 2023 | working session with actors from the CNSAD
Monday 20th or Tuesday 21st March 2023 in T2G - Théâtre de Gennevilliers | preparatory workshop with all participants and professional actors
Monday 5th ou Tuesday 6th June 2023 | working session with young composers
From thursday 6th to thursday 13th April 2023 at Ircam & Studio Theatrer of Vitry | preparatory workshop with all participants
From monday 19th to friday 30th June 2023 at TG-Théâtre de Genevilliers | preparatory workshop with all participants and professional actors