Carte Blanche
to
Thierry Niang
Tuesday, December 9, 2008 at 20:30
in partnership with the Theatre des Salins, nationally Martigues
in the presence of
Marie Desplechin, author
Patrice Chereau, the director Mathias
Yushchenko, philosopher
Around Performing
"Au Bois Dormant"
With Marie Desplechin, Thierry Niang and Benjamin Fool. Looking outside
Patrice Chereau
from 11 to 13/12 at 20:30 at the Conservatory of Dance Henri Sauguet
The words should not speak for the body but the body for words. "
When nothing comes from the word, it always comes from the body. A body out of himself. An autistic dancing - dancing with him, the dancing - that seek out that which is within, and that's what I tried during meetings with each of the four teenagers since July 2007.
Often Mary and even Benjamin and Patrick were there.
They say that these bodies are deprived of movements and gestures, however, it happens everywhere.
These are actions that bring alive a body. A fragment of an eye, a sigh, muscles that move the ankle that trembles, which raise the toes.
Never before with autism, I have seen so many things, such beautiful gestures nervous gestures, clear lines in space or broken movements, immobility or slow, clumsy arabesques, twisting coils ephemeral forms, twisting arms or legs. The flight of arms, rocking the torso, fingers become detached from the hand or head that rolls from one shoulder to another.
A place in the world.
Thierry Niang Thieû
When nothing comes from the word, it always comes from the body. A body out of himself. An autistic dancing - dancing with him, the dancing - that seek out that which is within, and that's what I tried during meetings with each of the four teenagers since July 2007.
Often Mary and even Benjamin and Patrick were there.
They say that these bodies are deprived of movements and gestures, however, it happens everywhere.
These are actions that bring alive a body. A fragment of an eye, a sigh, muscles that move the ankle that trembles, which raise the toes.
Never before with autism, I have seen so many things, such beautiful gestures nervous gestures, clear lines in space or broken movements, immobility or slow, clumsy arabesques, twisting coils ephemeral forms, twisting arms or legs. The flight of arms, rocking the torso, fingers become detached from the hand or head that rolls from one shoulder to another.
A place in the world.
Thierry Niang Thieû
When I looked Thierry Niang Thieû dancing with the teenagers, I wondered who drew the other in his game was it that led Thierry Mathieu Emilien and his movement? Or was it the teenager who took her to him, requiring him gently gestures that would be suitable? Dancer's or adolescents, which was piper? Who, exactly, led the dance?
Thierry was the host power: it was his initiative they found themselves. He suggested the game together, and he initiated the movement
But it was Mathieu or Emilien, King, Prince desolate kingdoms, which invited it to happen around them. They received his actions as so many tributes worried the omnipotence of their misfortune. It seemed they were willing to respond, and showed their satisfaction with a reservation scared. It was a fascinating thing to see these two events happen simultaneously. Suddenly, there was more good and bad people, good world of cons sharing the evil world of isolation. The poor world was not abolished in favor of miraculously good. It was more like witnessing the birth a great diplomatic enterprise. Or building a peaceful area where it would be possible for a time to meet.
And it certainly was due to dance.
I figured that was before the dance. Before the sculpture before painting, before the music itself. She came first in the history of each and every one. She was so old that it was not possible to keep track, unless we assume that other art, an art of representation, painting for example, does that.
For dance, in short, was immediately and then never again. Was to repeat again and again. The dance was not saying it did not represent. No word. No picture. From the moment of movement, breath, repeat. I thought the dance was perhaps the smartest embassy to build bridges between worlds, between the world of children, Mathieu or Emilien example, and ours, that of Thierry and mine for example.
Embassies and that's all. No civilization, no settlements, no progress in sight.
A happy encounter, whose greatest success would be to arouse the desire for another meeting his expectations. I was reminded of two sayings Clément Rosset. "The nature of things consists in things, and alone. It is, he has never been nor will ever attendance this. "And
" Be the friend that this happens, the future and the past will be given you besides. "I read in a literary text written by people without autism, we knew nothing about autism. An enigma. A mystery. Nothing what. But this is not what the books say written by people with autism. What
Thierry and teenagers dancing show is not nothing.
is something else.
Marie Desplechin
So two people I know and admire and love seeing them together.
Marie Desplechin, whose writing I know, I admire the books, and more if possible, the person she is, her gaze on people's ability to tell reality with humor and vitality. A friend with whom I hoped to work one day with her, around her, without knowing how. And
Thierry Niang, which I know work for some years now and who accompanied me in the last three shows that I have made, Così fan tutte, House of the Dead and Tristan and Isolde. Three operas where it was always for us to talk about the body. My discovery of his work: the peculiarity of his journey, his knowledge of the plateau, the acuity of his practical - astounding when you see him working with autistic children he brings to the dance, a form of language and response just by dancing with them. The simple beauty of her choreographic language, his ability to improvise players: look people - actors, singers, all. Gratitude for this joint work we did this year in Vienna and Aix-en-Provence, the House of the Dead Janacek with Pierre Boulez we've done all the staging, careful, I think, one to another, always taking care to watch what the other was what he liked and what bothered him.
And then these people will work together today, and here they asked me to watch them, just say what I see, what I imagine, not to speak for them, but just propose areas, a dramatic, perhaps, imagine a space with them, lights. It is a selfless and again, I've never done person here and I wanted to accept. It is the company that does everything Thierry Niang, Thierry Marie and talk, talk, meet the children with autism, one written and one dance, and me, I added.
And I watch them.
Patrice Chereau
Thierry was the host power: it was his initiative they found themselves. He suggested the game together, and he initiated the movement
But it was Mathieu or Emilien, King, Prince desolate kingdoms, which invited it to happen around them. They received his actions as so many tributes worried the omnipotence of their misfortune. It seemed they were willing to respond, and showed their satisfaction with a reservation scared. It was a fascinating thing to see these two events happen simultaneously. Suddenly, there was more good and bad people, good world of cons sharing the evil world of isolation. The poor world was not abolished in favor of miraculously good. It was more like witnessing the birth a great diplomatic enterprise. Or building a peaceful area where it would be possible for a time to meet.
And it certainly was due to dance.
I figured that was before the dance. Before the sculpture before painting, before the music itself. She came first in the history of each and every one. She was so old that it was not possible to keep track, unless we assume that other art, an art of representation, painting for example, does that.
For dance, in short, was immediately and then never again. Was to repeat again and again. The dance was not saying it did not represent. No word. No picture. From the moment of movement, breath, repeat. I thought the dance was perhaps the smartest embassy to build bridges between worlds, between the world of children, Mathieu or Emilien example, and ours, that of Thierry and mine for example.
Embassies and that's all. No civilization, no settlements, no progress in sight.
A happy encounter, whose greatest success would be to arouse the desire for another meeting his expectations. I was reminded of two sayings Clément Rosset. "The nature of things consists in things, and alone. It is, he has never been nor will ever attendance this. "And
" Be the friend that this happens, the future and the past will be given you besides. "I read in a literary text written by people without autism, we knew nothing about autism. An enigma. A mystery. Nothing what. But this is not what the books say written by people with autism. What
Thierry and teenagers dancing show is not nothing.
is something else.
Marie Desplechin
So two people I know and admire and love seeing them together.
Marie Desplechin, whose writing I know, I admire the books, and more if possible, the person she is, her gaze on people's ability to tell reality with humor and vitality. A friend with whom I hoped to work one day with her, around her, without knowing how. And
Thierry Niang, which I know work for some years now and who accompanied me in the last three shows that I have made, Così fan tutte, House of the Dead and Tristan and Isolde. Three operas where it was always for us to talk about the body. My discovery of his work: the peculiarity of his journey, his knowledge of the plateau, the acuity of his practical - astounding when you see him working with autistic children he brings to the dance, a form of language and response just by dancing with them. The simple beauty of her choreographic language, his ability to improvise players: look people - actors, singers, all. Gratitude for this joint work we did this year in Vienna and Aix-en-Provence, the House of the Dead Janacek with Pierre Boulez we've done all the staging, careful, I think, one to another, always taking care to watch what the other was what he liked and what bothered him.
And then these people will work together today, and here they asked me to watch them, just say what I see, what I imagine, not to speak for them, but just propose areas, a dramatic, perhaps, imagine a space with them, lights. It is a selfless and again, I've never done person here and I wanted to accept. It is the company that does everything Thierry Niang, Thierry Marie and talk, talk, meet the children with autism, one written and one dance, and me, I added.
And I watch them.
Patrice Chereau
Making and watching dance elsewhere and otherwise movement danced as a tool for research, experimentation and thinking becomes the place to share imaginary , languages and cultures.
Explore reality and fantasy enrolled in each body that is shared theoretical and physical activities in the form of workshops and meetings. Reinventing
reports and ways to create a dynamic and research around the creation and transmission, allowing himself the opportunity to test and multiple forms of presentation. Trying
interdisciplinary meetings, cross theories and practices around the dance movement and its surroundings plurals from other artists, other companies and other places, so to "make sense and body to make a sign."
This season he created "WOOD DORMANT "with Marie Desplechin, writer and BENJAMIN Dupe, from a musician working with adolescents with autism creation in December 08 to Salinas national stage and on tour in Martigues Châteauvallon, Dijon, Istres, Clermont Ferrand and Paris.
It also prepares a duet with Catherine GERMAIN / ARLETTE "LOVE" in the eyes of Francois CERVANTES, RANCILLAC FRANCIS, LAWRENCE Fréchuret and other guests for the summer 09 and staged reading of "Coma" by PIERRE Guyotat Patrice Chéreau at the Theatre of the Odeon in Paris.
It works with the latest FRANCOIS CERVANTES creations ("AN ISLAND QUARTET and THE LAST OF A DEAF MAN) and Nathalie Richard and Elina Lowensohn for" Princess Plays "by Elfrida JELINEK in Marseille.
He co-sign as the staging of "PAIN" by Marguerite Duras with Patrice Chéreau to Dominique Blanc in Amandiers at Nanterre in December 08 and on tour in Saint Quentin, Douai, Nantes, Caen, Lons le Saunier, Villefranche , Conflans, Boulazac Ollioules, Epernay, Pantin, Tarbes, Mons, Gradignan Grasse, Arles, Sete, Reims, Sartrouville, Chalon sur Saone, Angouleme, Lyon, Voiron, Perpignan Pezenas, Cavaillon, The Le Mans, Clermont-Ferrand, Joue les Tours, Meylan, Bordeaux, Boulogne sur mer, Ajaccio and Basel in Switzerland, Girona in Spain and Luxembourg ... Thierry Thieu Niang
resume in Fall 09 'OF THE HOUSE OF THE DEAD "opera Leos Janacek at the Metropolitan Opera in New York and La Scala in Milan.
* ********************
And Cinema ...?
Paradoxically, the strangeness of autism in our world, often hard on what bothers him that is able to produce by revealing what belongs to the body joint: a smile, eye movement, cries sometimes, as many things without which a face would be nothing human is that they appear as themselves they are, arise from them themselves without anything to announce, nor justify them afterwards.
Movies & Autism
few cues ...
France, 1989, 13mn
Best Documentary, Festival Brussels, 1989
Best Short Film Festival, Turin, 1989
Research Award at the Festival of Clermont-Ferrand, 1990
13 minutes to approach closer and fairer young autistic Institute of Psychiatry Children's "Little House" to Chastres, by means of placing the viewer in a sense of consideration. By a quasi-physical proximity between the image and body, identity and otherness are synchronized in pure emotion.
More than a movie about autism, there is a film about the body, the body as a handicap given the facts capable of unpredictable movements. This is not a documentary it is. Remember that no further comment is no support for images, explicit, or distract from the potential discomfort with which we can receive them. And the feeling that we left when the movie ends is that sudden movements, violent as they come to break the harmony of the order on which day our gaze falls are beautiful and eloquent. So it is still a break from filming a visible fracture operated by young children living in space, defying the rules, which is moreover a striking way to give it to see. The white wall became an obstacle to the movement of the head of a child appears to us as we have never seen or could see. A body is indifferent to its presence raises an original appearance and transforms substantially. The wall is there for nothing, it is an obstacle for us who can see and touch. Similarly, the often imperceptible movements that potentially contains all face are magnified here, radicalized.
Rudolph Olcese
a special silence
Stefano Rulli
Italy, 2005, 1:15
David di Donatello 2005: Best Documentary Film
International Film Festival Vancouver 2005: Best Documentary
Venice Biennale 2004: First Arca Cinema Giovani - digital film
ANNECY CINEMA ITALIAN 2005:
Special Jury Award, Special Jury Prize CICAE
Thirty years ago, an anonymous elected regional council of the province of Parma, Mario Tommasini, Donna me the opportunity to enter premises psychiatric remained closed for a century and telling the inside of a suffering humanity has always been subtracted from the remaining. A wonderful experience that allowed us to know closely the men and women who had experienced a terrible situation of marginality and give them a voice. In Untying Boobies, the emotion of those who first felt entitled to tell their own story and those who were filmed in the heart of the film. In the background, barely suggested, the mystery of madness because of human relations as those between the wives, husbands, fathers, mothers, children are "different" hard to tell if this is that 'from an everyday experience.
Many years later, life has compelled me to know this existential situation of the Interior. With my wife, Clara Sereni, we tested this q'on experiences as parents of a child who has mental problems: the scared eyes of others, the silent flight of friends and acquaintances, compassion who feels reinforced in his character by the other's difference. And together, we have chosen to confront this not morally judging others, but giving them the opportunity to learn about the condition of the mentally ill and those who live with him, offering items to look at the difference of another way and stick less distant.
The night Clara, Matteo and I saw the final cut of the film, we were alone in our apartment in Perugia, we assure to our TV from prying eyes. At the end of watching, we remained silent. We looked at length, as peasants a little tired after a day's work. Matteo then gave me a smile, that smile just to tell me that at the end of this journey, even if it had been difficult and sometimes painful, we were probably a little more together than before . Stefano Rulli
Her Name Is Sabine Sandrine Bonnaire
FORTNIGHT - CANNES 2007 -
CRITICS AWARD INTERNATIONAL FIPRESCI
To appoint a director's approach, critics sometimes speak of "action" film. For once, the term is applied with a wonderful simplicity to Sandrine Bonnaire's first film as director. Her name is Sabine was only a gesture, entirely summarized by its title: to make us see (rather that we "show") a human being singular, a singularity marked by disability , but are not summarized. Sabine is
Sandrine Bonnaire's younger sister. Child "different" and teenage "inappropriate", it has gradually sunk in what we do diagnose until years later, after a destructive passage in a psychiatric hospital, as a form of autism. Blending the past (footage shot during adolescence, especially during a family vacation or a trip of two sisters in the U.S.) and present (at the option of a long stay in the specialized agency where (re) his sister now lives), Sandrine Bonnaire gives us time to know and to Sabine on words (autism, disability) and symptoms Frightening, history and feelings. For
uncomfortable it is (to put it bluntly, the Sabine-to-day moves and speaks slowly, hunched over and staring; Sabine sometimes scream, hit, dribble; Sabine tirelessly raises its sister the same questions in the same terms: "Is it after my nap you'll still be there for me? do you come back and see me tomorrow? and after tomorrow, is that you'll be there again? "), this experience is among the most exciting and rewarding that we have experienced throughout the Festival. And we do not see, on all those we have been presented at this Festival, we have more character who touched in his (and our) humanity. Upsetting
, Her Name is Sabine is also helpful: the film paints a finding of lack of care facilities specializing in children and adults with disabilities, which puts families struggling with wrenching choices: keep their daughter, their son their brother or sister at home, at the risk of destabilization of their personal lives, or interning in the only structures available, often the psychiatric hospital, a decision which we see the destructive effects Sabine on the person.
Preview:
Movies & Autism
few cues ...
ONLY
Olivier Smolders and Thierry Knauff
Olivier Smolders and Thierry Knauff
France, 1989, 13mn
Best Documentary, Festival Brussels, 1989
Best Short Film Festival, Turin, 1989
Research Award at the Festival of Clermont-Ferrand, 1990
13 minutes to approach closer and fairer young autistic Institute of Psychiatry Children's "Little House" to Chastres, by means of placing the viewer in a sense of consideration. By a quasi-physical proximity between the image and body, identity and otherness are synchronized in pure emotion.
More than a movie about autism, there is a film about the body, the body as a handicap given the facts capable of unpredictable movements. This is not a documentary it is. Remember that no further comment is no support for images, explicit, or distract from the potential discomfort with which we can receive them. And the feeling that we left when the movie ends is that sudden movements, violent as they come to break the harmony of the order on which day our gaze falls are beautiful and eloquent. So it is still a break from filming a visible fracture operated by young children living in space, defying the rules, which is moreover a striking way to give it to see. The white wall became an obstacle to the movement of the head of a child appears to us as we have never seen or could see. A body is indifferent to its presence raises an original appearance and transforms substantially. The wall is there for nothing, it is an obstacle for us who can see and touch. Similarly, the often imperceptible movements that potentially contains all face are magnified here, radicalized.
Rudolph Olcese
a special silence
Stefano Rulli
Italy, 2005, 1:15
David di Donatello 2005: Best Documentary Film
International Film Festival Vancouver 2005: Best Documentary
Venice Biennale 2004: First Arca Cinema Giovani - digital film
ANNECY CINEMA ITALIAN 2005:
Special Jury Award, Special Jury Prize CICAE
Thirty years ago, an anonymous elected regional council of the province of Parma, Mario Tommasini, Donna me the opportunity to enter premises psychiatric remained closed for a century and telling the inside of a suffering humanity has always been subtracted from the remaining. A wonderful experience that allowed us to know closely the men and women who had experienced a terrible situation of marginality and give them a voice. In Untying Boobies, the emotion of those who first felt entitled to tell their own story and those who were filmed in the heart of the film. In the background, barely suggested, the mystery of madness because of human relations as those between the wives, husbands, fathers, mothers, children are "different" hard to tell if this is that 'from an everyday experience.
Many years later, life has compelled me to know this existential situation of the Interior. With my wife, Clara Sereni, we tested this q'on experiences as parents of a child who has mental problems: the scared eyes of others, the silent flight of friends and acquaintances, compassion who feels reinforced in his character by the other's difference. And together, we have chosen to confront this not morally judging others, but giving them the opportunity to learn about the condition of the mentally ill and those who live with him, offering items to look at the difference of another way and stick less distant.
The night Clara, Matteo and I saw the final cut of the film, we were alone in our apartment in Perugia, we assure to our TV from prying eyes. At the end of watching, we remained silent. We looked at length, as peasants a little tired after a day's work. Matteo then gave me a smile, that smile just to tell me that at the end of this journey, even if it had been difficult and sometimes painful, we were probably a little more together than before . Stefano Rulli
Her Name Is Sabine Sandrine Bonnaire
FORTNIGHT - CANNES 2007 -
CRITICS AWARD INTERNATIONAL FIPRESCI
To appoint a director's approach, critics sometimes speak of "action" film. For once, the term is applied with a wonderful simplicity to Sandrine Bonnaire's first film as director. Her name is Sabine was only a gesture, entirely summarized by its title: to make us see (rather that we "show") a human being singular, a singularity marked by disability , but are not summarized. Sabine is
Sandrine Bonnaire's younger sister. Child "different" and teenage "inappropriate", it has gradually sunk in what we do diagnose until years later, after a destructive passage in a psychiatric hospital, as a form of autism. Blending the past (footage shot during adolescence, especially during a family vacation or a trip of two sisters in the U.S.) and present (at the option of a long stay in the specialized agency where (re) his sister now lives), Sandrine Bonnaire gives us time to know and to Sabine on words (autism, disability) and symptoms Frightening, history and feelings. For
uncomfortable it is (to put it bluntly, the Sabine-to-day moves and speaks slowly, hunched over and staring; Sabine sometimes scream, hit, dribble; Sabine tirelessly raises its sister the same questions in the same terms: "Is it after my nap you'll still be there for me? do you come back and see me tomorrow? and after tomorrow, is that you'll be there again? "), this experience is among the most exciting and rewarding that we have experienced throughout the Festival. And we do not see, on all those we have been presented at this Festival, we have more character who touched in his (and our) humanity. Upsetting
, Her Name is Sabine is also helpful: the film paints a finding of lack of care facilities specializing in children and adults with disabilities, which puts families struggling with wrenching choices: keep their daughter, their son their brother or sister at home, at the risk of destabilization of their personal lives, or interning in the only structures available, often the psychiatric hospital, a decision which we see the destructive effects Sabine on the person.
File & Maintenance:
Preview:
*** The
slightest gesture
Fernand Deligny
We are in 1963 in a village where cévenol Fernand Deligny found refuge with a few survivors of The Great Cordée, an organization founded several years earlier, "Trying to support a cure free temperamental teenagers, psychotic offenders. The script, obviously invented every day, is based on a fable invented by Deligny: Boy escapes from the asylum, another (Yves) hand in his footsteps, and wanders at length in the landscape ...
is the story of a film that looks like nothing. In a rare strength and indescribable. A film
vagrant, shot off the beaten track, beyond a production environment without technician or actor ...
Josée Manenti tiny part of the team that accompanies Deligny. The woman, who became a psychoanalyst, takes first of his life, a camera. The film is perhaps an excuse. It's all about creating matter to structure, the newspaper feed. Yves will therefore be an actor. He is 20 years. Josée surrounds for years: it is part of the survivors. She shoots with incredible science of light and the frame, anticipating his every move on her every move, sensing the unpredictable. The images are silent. There is no sound man. No dialogues. But every night, back to the village, Yves tells his day into a tape recorder. Striking monologues uttered, in a voice bellowed from the depths. Uncanny. Shooting last two years ... The result is not surprising. Deligny and his family left the Cevennes. Barely begun, he had to stop editing, lack of money. The images and sounds fail at the bottom of a trunk, they will carry around for 4 years, from one end to another of France.In Nord 1969, through a mutual friend, the mail lands Marseille, a young trader, Jean-Pierre Daniel. He knows neither Josée or Deligny, and knows nothing of this adventure, but little by little, it will capture those images, edit them, make them a destiny ... Today, this film is given see. We need to rush. These timeless images like these dark images, light, tough, tenacious, are most acute.
Nicolas Philibert
File:
(click on the document)
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