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WATCH - Various trips
Paris chamber orchestra / Paradox Palace
2019 - 2020 - MC93
"The future is not what will happen, but what we will do" (H. Bergson)
Paris Chamber Orchestra
Penitentiary Integration and Probation Service of Seine et Marne
Samu Social de Paris
APHP - Pitié Salpêtrière
Ehpad Hector Berlioz - Bobigny
House of Poetry
The OCP would like to thank the City of Paris , the Ministry of Culture and Communication (DRAC Île de France), the Meyer Foundation for cultural and artistic development, the La Poste Corporate Foundation, the Humanities Foundation , for their support, Digital and Digital and the SNCF Foundation .
Bizon, Emma Bazin, Fanny Sintes, Hadyl, Haïss, Jacques Mazeran, Marco, Nadir, Salah, Sofiane
MUSICIANS OF THE PARIS CHAMBER ORCHESTRA
Franck Della Valle (violin), Claire Parruitte (viola), Sarah Veilhan (cello), Vincent Lochet (clarinet), Valentin Dubois (percussions)
DESIGN AND DIRECTION
Olivier Fredj, Paradox Palace Company
PIANO AND MUSICAL COORDINATION
DIRECTION OF WRITING WORKSHOPS
Sylvie Ballul, Yann Apperry, Judith Perrignon, Célia Houdart
Writing workshop at the Popincourt emergency shelter of the Samu social de Paris (in partnership with the Maison de la Poésie) Gamal, François, Marianne, Willy, M. Miled, M. Nadji, M. Sakraoui
WRITING WORKSHOP OF THE PENITENTIARY CENTER OF MEAUX-CHAUCONIN
Bizon, Hadyl, Haïss, Marco, Mohamed, Nadir, Sofiane, Ryan, Salah, William
WRITING WORKSHOP OF THE MOBILE SUPPORT AND PALLIATIVE CARE UNIT OF PITIÉ-SALPÊTRIÈRE - AP-HP
Esther, Hervé, Jamilé, Sarah
EHPAD WRITING WORKSHOP
HECTOR-BERLIOZ OF THE SOS DE BOBIGNY GROUP
Danielle, Denis, Elisa, Jean-Claude, Jean-Marc, Lucette, Marinette, Robert, Véronique
Olivier Fredj (with literary inspiration from Emmanuel Levinas, Henri Bergson, Jerôme Baschet, Michel Foucault, Richard Ayres, Mafalda (Quino), Peter Handke, Annie Ernaux, Georges Perec, WH Auden, Roland Barthes ...)
DRAWINGS made on the theme of time by the CE1 class of Delphine Lucas, Paris 13th
“I don't have time,” says the late spectator, who runs to arrive on time for the start of the show.
“I ran all day”. And here he / she finally settles down in the two marvelously relaxing conditions of the theater: time will stop for a fixed period and he / she is no longer observed, neither by others, nor by his telephone. The state of emergency ends.
To question time in a musical show is to question the duration, the moment, the past, the present and the future, but also the rhythm, it is to meet around a universal question and to make a celebration of it. Beyond our condition, we share this fundamental question which makes the future an anguish and the past a melancholy.
Approaching universal questions seemed possible to me, since we have the possibility of superimposing the spectator's time with that of several conditions, and particularly if the specificity of this condition offers us a particular apprehension of time and of the gaze of the other: we chose to write this show with prisoners, long-ill patients and homeless people.
The exchange and the realization of the project with these partners then become a win-win exchange. The theater platform offers a benevolent space to build, together and in confidence, a project of meeting with an audience. In this context, it considers their specific condition in terms of added value and expertise which are invaluable to us in understanding these questions.
It offers an ability to separate our specific conditions, our value judgments, our situations, from our human condition. It invites us to make of each specificity a look towards the Other.