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Un triptyque de théâtre musical
- Watch
- Flouz
- Krush
The Palace
A space for research where creation is the result of an encounter between intuition, art and the whole world
I were asked to build a Palace….And if I had the choice, do you know what I would do?
I would like everything in this empty space to be the other way round. There would be a common space, a project made of special places; The only mirror there would be the identity of The Other Person. There would be no mention of the moment. Conversation would replace didactics and the encounter would be reciprocity.
The past, the future, and the present would coexist – nothing linear. Perfect harmony only exists in polyphony, in a quest for the perfect solution of diversities, that are not self-sufficient alone. There would be a door in every wall. Literary texts, music, and meaning would knock on the door to enter the social volcanos. Their memory would creolize the overvalues of social conditions and experiences.
The paradox and the light born from the rebellion would enlighten the story and allow a future door to appear before the eyes of the people listening. It just needed to be opened.
References:
The Tempest, W. Shakespeare
Michel Foucault, La Société de la Discipline
Edouard Glissant, le Tout Monde
Action
At the opera: By rewriting historic music material, working mainly on adapting the dramaturgy and the place of the spectator so he or she could become involved in the story with contemporary echoes.
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Rewriting the story of Elizabeth I from the transgenerational therapy point of view with Bastarda, after Donizetti to be held at the Théâtre Royal de la Monnaie in Brussels in April 2023
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A study of people with sleeping problems at the APHP for Verdi’s Macbeth, was created in 2016 for the Théâtre de la Monnaie and the Teatr Wielki in Poznan.
The paradox
Engage those who would doubtless never have had to meet.
Creating dialogue between people who would never have met. The tension in the Palace is that of the apparent paradox of an artistic creation on an international level and the gratuity of the cultural gesture in therapy and insertion contexts.
Putting this paradox into action consists in creating a theatrical and musical project with exceptional artists and ensembles, one of two works of art and the added value of using the fundamental places used by society in general and the people who go there: hospitals, schools, prisons, age and exclusion.
The main idea is to progress as if one were a researcher: a theatre project follows an intuition, a postulate, then like a gathering bee, takes people involved towards new unknown lands, harvests and is transformed just by juxtaposing the elements and thus becomes a creation.
A creation that contains neither logic nor ethic because it is only an answer to what everyone says.
References:
Gilles Deleuze, The Anti-Oedipe.
Byung-Chul Han , The Fatigue Society
Jérôme Baschet, Undoing the tyranny of the present
Action
In musical theater:
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WATCH 2024, a tryptic with various texts created in workshops at the hospital, in schools, prison, Samu Social (Social Welfare), Ephad (Old People’s Homes), and on stage, with the aim of establishing an inventory through experience and showing the basic places of society
WATCH – VARIOUS JOURNEYS (Book I) was created in 2019/2020 with the Orchestre de Chambre de Paris at the MC93, interpreted by the prisoners of the Centre Pénitentiaire de Meaux.
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The finality of the project should be the creation of encounters on these themes parallel to the Olympic Games in Paris in 2024, bringing together international specialists in the eyes of the presentation of the tryptic.
Replicas
When you listen to what is not said, it allows you to answer the world at last.
The artistic forms created by Paradox Palace are a cue, a societal and theatrical answer:
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To the present moment and the urgency that are denied or mummified by the past and try to make innovation the palliative of a future that seems impossible and alarming.
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To isolation because they are the same, from so many uncontrollable algorithms, permanent mirrors of visual panoptic as well as the comfort of being ‘entre-soi’ of the elites as well as the excluded.
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To the rejection of opacity and the obligation of truth, directness, information, content at all costs. To set it against the tale, the story and the form.
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To violence, both certainties, judgments of extremes, and totalitarian peace of the powerful through uniformity.
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In the temptation of a culture which could only welcome in nobility or visit in colonial, but could not join the common place, would not risk the confrontation.
Confrontations
Tension is positive energy when it finds expression.
Confronting and confronting the artistic idea with society is a way of being engaged.
Confronting works with writings external to art makes the heritage of the past eminently contemporary.
Confronting artists under the most extreme conditions and making them witnesses and facilitators can shift the pure artistic approach and individual and political issues.
Confronting the specificities of creation unites them in a project and reverses the paradigm of cultural action by considering the conditions as added value.
Action
- Training :
by setting up workshops for professionals or amateurs in order to allow them to tell their story or their project.
- e-workshop of the Geneva Competition in 2020
- "Singer and camera" workshop, University of Music, Geneva, in 2021
- In publishing: by creating alternative media to the show to generate a rhizome around the theater and generate a mix of audiences.
- In project: the production of a disc book with illustrator Jean Lecointre on by Jacques Offenbach, with the Palazetto Bru Zane.
Stage Director