| |
| |
Newsletter 12/09/2018
Two important announcements first: |
|
Paris Saison 2018 - 2019 Open Doors 22 23 + 29 30 sept.
New York opening Inside the Wild Heart The 2019 Festival theme : LUCK |
|
|
|
| |
|
|
|
New York OPENING Oct 18
Inside the Wild Heart
Clarice Lispector directed by Linda Wise October 18 to November 18 |
|
Linda Wise is directing a new immersive theatre piece on the work of one
of Brazil’s greatest and most beloved writers: Clarice Lispector, treasured by the Surrealists and by contemporary feminist critics. Hélène Cixous is a fan. Also described as the greatest Jewish woman writer after Kafka. Ukraine-born, she was only 23 when she wrote Near to the Wild Heart.
«I have never read such introspective writing and am completely fascinated, and challenged by the idea of moving INSIDE her wild heart. A piece and an immersive setting in which to explore the strangeness of being in this world.» Linda Wise. Conceived and produced by Debora Balardini
and Andressa Furletti co-directors of Group BR, New York’s only Brazilian theatre company. Aich Studios, 218 E 25 Street, New York INFORMATION
|
|
|
| |
Announcing the 2019 Myth and Theatre Festival June 18 to 30
LUCK
Chance in French / Suerte in Spanish
Fortuna in Italian
Landmarks :
- "You are a shaman as long as your luck lasts", Roberte Hamayon; chapter on Hunting the Soul (!)
- The Greek simpateia, the figure of daimon and the rehabilitation of magic : Xavier Papaïs.
- C.G. Jung and W. Pauli : dialogues on acausal synchronicity. Michel Cazenave led the debates in France: Psychology and Quantic Theories. He just passed away. The first to invite James Hillman to France.
- Happy synchronicities : serendipity. Misfortunate ones : cancer. How to think
|
|
|
|
|
- What can performance do in such a mindscape of hazards and hopes ? Return to the laboratory and work on… the culture of luck. Sensitivity plays a big part in it. - Liza Mayer never returned form a walk without at least one four-leaf treffle. The Festival has become a wonderful gathering of artists, thinkers, friends (ages 12 to 82 - last year!)
BOOK EARLY, especially for your lodging. Malérargues has limited capacity. Contact us.
|
|
|
| |
|
|
|
Paris Season : Open Doors Active participation in different approaches : Voice (Roy Hart) Voice Performance Choreographic Theatre Cultural Studies |
|
PARIS Open Atelier Sat 22 + 29 Sept 9:30 - 12:30 Voice / Singing / Voice Performance Studio DTM (Paris 11, M° St Ambroise)
Open Laboratory Sunday 23 + 30 Sept 18:30 - 21:00 Choreographic Theatre Synthesis Studio La Guillotine (Montreuil, M° Robespierre)
Contribution 10€ / please book
texto 07 70 55 22 56 or email (included cell number)
|
|
|
| |
Meet the work, the teachers, the programs see where the practice and the ideas are moving towards |
|---|
| ● | Presentation and updates on the work, the projects, ideas and courses. | | ● | Personal training mostly towards professional performance. | | ● | Questions too: what relationship between Pantheatre and Roy Hart? Pantheatre was founded in 1981 (the first independent company) and has kept evolving, in Paris (winter), summer in Malérargues (Roy Hart Center in Southern France). Projects in Madrid, Italy, Chile, Brazil, NY. INTERNATIONAL | | ● | Cultural studies: meetings, bibliography, SEMINARS |
|
|
|
|
| |
|
|
|
Professionnal 4 Weeks Workshop October 29 - November 23 STUDIO DTM Paris 11e
Voice : extended registers (Roy Hart) Singing &. Interpretation Voice Performance Choreographic Theatre & Texts End of workshop concert & performances |
|
Directors Linda Wise & Enrique Pardo With Pierre-François Blanchard (piano), Didier Monge (polyphonies), Nahuel Bustamante (guitare, cajon, flute), Daniela Garcia (ex Molina) and other collaborators.International workshop exploring the possibilities of vocal expression in singing, acting and choreographic theater. Voice performance is based on two principles: technical finesse and expressive risk. Much more a question of personality, quality of listening and open-mindedness than of technical know-how (musical, theatrical, dance). Highlight on personal genius - musicality and character - as well as the pertinence (or impertinence) of what one has to voice, be it by speech, song, scream, or their synthesis in a choreographic theater.
|
|
|
| |
Enrique Pardo UCLan Honorary Fellow
Why Theatre ?
This was the title of the lecture I gave on the occasion of the Honorary Fellowship awarded to me by the University of Central Lancashire. I was, as it were, the godfather of the students graduating in Drama, Arts and Média. The response I gave was :
Because theatre is the depositary of MAGIC
DEPOSITORY : heir, trustee, custodian and experimental innovator of its past, present and future. The article will be available soon. |
|
|
|
|
|
"With my congratulations to the students who are graduating today and moving into society as professionals in their various fields, I would like to underline the importance and responsibility of what the Arts are voicing today: their role is to figure out, express and comment the deeper undercurrents of the emotional, ethical and political priorities of our society. To put it as strongly as I can: to face the power struggles of the twenty first century by bringing back an ultimate if daunting dimension of artistic mindfulness: the thinking and wisdom of MAGIC."
|
|
|
| |
|
|
|
Watch those ears !
MADRID Performance and Workshops Enrique Pardo
Directing Pogüerful with Bibiana Monje and C° Setting up a regular laboratory in Madrid |
|
October & December Bibiana Monje has had a big success in Spain with her solo LACURA (created 2017), devised with Enrique Pardo. She has now written Pogüerful (yes, Powerfull), for four actors. A circle of professionals is assembling in Madrid, towards a regular laboratory, including the cast. WORKSHOPS
October 5 6 7
December 7 8 9 Pogüerful opens on April 12 in the Canaries. Contact Bibiana Monje / IMPULSO Image by Michelangelo: King Midas at the Doors of Hell. The idea is to look with your ears, and to listen with your eyes… ("And then… "you’ll nose it" - James Joyce).
|
|
|
| |
New articles
Critical reviews :
Summary: The fairest belongs to Yane Mareine: without a doubt the most beautiful
voice I have heard recently at the Roy Hart Center, one of the temples of the voice... But we need to agree, of course, on what I mean by "beautiful voice". This article is a critical essay on a voice and its staging ... Beauty has an ambivalent status in the legacy of Roy Hart. Today, what is called 'Roy Hart' is almost entirely dedicated to voice/scream therapy, the
liberation and exorcist model inherited from the 1960s / 70s - the
best of its kind, not doubt for me, associated with the notion "personal development". What about Hell Canto in voice performance (the term is Nick Hobbs’ - as opposed to Bel Canto)? Zwaan, Zombies and Post-Colonialism Summary: Zwaan de Vries, like Yane Mareine, addresses colonialism. Her father was Dutch, as her name suggests. Her mother was Indonesian ... As we have come to understand, European
countries have very dark chapters in the history of their colonial
empires. So has Holland in its involvement with Indonesia, especially during and after the |
|
Second World War when it was invaded by Japan, creating an often fatal triangle: Japan, Holland and the Indonesian independence movement. Zwaan grew up in Rotterdam in this triangle. How to treat the complexity, the superiority complexes (white in particular) and the inferiority ones? And what form to give to such a performance?Hamlet’s Grimoire (Book of Magic Spells). Article in French.
On the occasion of Hamlet Unlimited, by Yves-Noël Genod, Paris, March 2018. This article includes reflections on Hamlet by Romeo Castellucci, and Hamlet House by Sean Lewis. This article was also published on the website Ars Magica - Magie et Sciences Humaines "We learn as well that grammar, glamor, grimoire and graffiti are graft transplants."
Extract: "These are speculative resurrections (true or fake?) that can not be only literary, certainly not for me, but also ritual, exorcist, daimonic, choreographic, shamanic (yes: how to deny the shamanic spirits in Hamlet?) And let's say it: magical. Yves-Noël presents a magical work, and it's the greatest compliment I can give him. His Hamlet on stage, I'm talking about the book in hand, is a magical, oracular book - an object-god - as, in my opinion, should be any theatrical text." EP Consult also the MINI BLOG |
|
|
|
|
|
|
