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The Palace
A research space where creation is the result of the meeting between intuition, art and the world.
If I was in charge of building a Palace… And if I had the choice, do you know what I would do?
I would like everything to exist in this empty space in reverse.
There would be a common place, a project, made of all particular places. There would be no other mirror than the identity of the Other. We wouldn't hear about the moment. Conversation would replace dialectic and encounter would be reciprocity.
The past, the present, the future, times that coexist. No linearity.
The choice of polyphony a quest for the perfect resolution of diversities, insufficient in themselves in their only specificity.
In each wall we would build a door. Literary texts, music, meaning, would strike there to enter social volcanoes. Their memory would then become creolized with the added value of conditions and experiences.
The paradox and the light born of the revolt would illuminate the story and make a future door appear to the eyes that listen to it.
All you have to do is open it.
References :
The Tempest, W. Shakespeare.
Michel Foucault, the society of the discipline
Edouard Glissant, the All-World
Action
At the opera: By rewriting historical musical materials working mainly to adapt the dramaturgy and the place of the spectator to engage him in the story through contemporary resonances.
The rewriting of the life of Elizabeth I with regard to transgenerational therapy with Bastarda, according to Donizetti, scheduled for 2023 at the Théâtre Royal de la Monnaie
A study of sleep disorders at APHP, for Macbeth by Verdi, created in 2016 for La Monnaie and Teatr Wielki in Poznan.
The paradox
Engage those who would doubtless never have had to meet.
The tension that animates the Palace is that of the apparent paradox of artistic creation at an international level and the gratuity of cultural gestures in contexts of integration and therapy.
Acting on this paradox consists in bringing together in a theatrical and musical project artists and groups of excellence, one or more works of art and the added values of the passage through the fundamental places of society and by those who live them: the hospital, school, prison, age, and exclusions.
It is above all a question of advancing as a researcher: the theatrical project follows an intuition, a postulate, then, foraging and pollinator, then directs both to unknown fields, collects and, by the juxtaposition of elements, transforms and becomes creation.
A creation to which neither logic nor morality can apply since it is only a response to what the world tells us.
References :
Gilles Deleuze, The Anti-Oedipe.
Byung-Chul Han , The Fatigue Society
Jérôme Baschet, Undoing the tyranny of the present
Action
In musical theater:
WATCH 2024, mixed writing triptych, generated by writing workshops in hospital, school, prison, Samu Social, nursing home and theater, with the aim of establishing through experience a inventory and a projection of the fundamental establishments of the company.
WATCH - VOYAGES DIVERS (book 1) was created in 2019-20 with the Orchester de chambre de Paris at the MC93, performed by inmates of the Meaux Penitentiary Center.
Its outcome would lie in meetings on these questions in parallel with the Paris 2024 Olympic Games, bringing together international specialists, with regard to the presentation of the triptych.
Replicas
When listening to the unsaid finally allows us to respond to the world.
The artistic forms created by Paradox Palace are a replica, a societal and theatrical response:
To the presentism and the urgency which deny or museify the past and try to make innovation the palliative of a future which seems impossible and anxiety-provoking.
In isolation by the same, as much of the uncontrollable algorithms, of the permanent mirrors of virtual panoptics, as of the comfort of the inter-self of the elites as well as the excluded.
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.
To violence, both certainties, judgments of extremes, and totalitarian peace of the powerful through uniformity.
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.
A space for research where creation is the result of an encounter between intuition, art and the whole world
Paradox Palace
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, Shakespeare, La Société de la Discipline, Michel Foucault, le Tout Monde, Edouard Glissant, 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.
Rewriting the story of Elzabeth 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
A study of people with sleeping problems at the APHP for Verdi’s Macbeth, created in 2016 for the Théâtre de la Monnaie and the Teatr Wielki in Poznan.
The Paradox
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 : L’Anti-Oedipe, Gilles Deleuze, La Société de la Fatigue : Byung Chui Han, Défaire la Tyrannie du Présent : Jérôme Baschet,
Action
Musical theatre
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.
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.
When you listen to what is not said, it allows you one to answer the world at last.
The artistic forms created by Paradox Palace are a cue, a societal and theatrical answer:
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.
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.
The 2024 Watch project is made up of three large scale musical theatre creations spread over three seasons.
The project includes international scale creators and interpreters and will be articulated around major works from the classical and contemporary repertoire, emblematic texts and an electro performance, created especially for the project.
The specificity of this project lies in the creation of a professional artistic production, involving and bringing together the basic fundamental places where society evolves : hospitals, schools, emergency shelters, EPHAD (Old People’s Homes) and the theatre; it is the answer to the main questions that came to the fore during the pandemic.
The themes and works will be chosen collectively with our partners. Their only criterion will be work on discovering what the amateur participants bring to the creation through their expertise.
One can but think of course (echoing the anniversary of the birth of Proust) of money, love…
The Olympic Games, a social and cultural stadium
By renewing with the ancient tradition of the Olympic Games, Watch 2024 wishes to bring art and sports events together in a democratic citizen.
The link with the Olympic Games will give Watch an reverberation, an international scope and visibility.. If the 5 Olympic rings symbolize the meeting of the five continents, the aim of Watch is for institutional actors to meet and debate, reflect and create on the themes of education, health, justice and solidarity.
A stadium is the place for a sports event during the Games, a place to reassemble and celebrate, and in the same way the theatre will be the stadium for creating, reflecting and a plural society.
A scientific college, a citizen’s manifesto
The college which is composed of scientists, artists and eminent specialists in the chosen themes and fields, will define the main lines for working on the social and artistic themes, with the creation team. The college will be an onlooker and a dramaturgy resource and follow each step of the work in the aim of creating encounters during the Olympic Games. It will produce and publish a ‘Manifeste des Lieux Fondamentaux’ (Manifesto of the basic places) along with the artistic work.
We are thinking of Delphine Horvilleur, Philippe Charlier, Christiane Taubira, Barbara Siegler, Patrick Chamoiseau, Adeline Hazan among others.
Contemporary writing.
The uniqueness of Watch resides in its plural script. It allows literary and musical works to converse with the texts written by the participants, but also the amateurs’ texts between them. It offers a strong theatrical dialogue in different fields of society that had never been led to communicate before.
director