Suite n°3

  • Conception Encyclopédie de la parole
    Dramaturgy and direction Joris Lacoste
    Composition and music Pierre-Yves Macé
    Cast Bianca Iannuzzi (soprano), Laurent Deleuil (baritone) and Denis Chouillet (piano)
    Artistic collaboration Elise Simonet
    Choreography Lenio Kaklea
    Scenography and light design Florian Leduc
    Technical management on tour Florian Leduc or Nicolas Bats
    Sound Stéphane Leclercq
    Costumes Ling Zhu
    Collecting coordinators Joris Lacoste, Valérie Louys, Marion Siéfert, Elise Simonet
    Singing master Vincent Leterme
    Vocal coach Valérie Philippin
    Staging intern Yvan Loiseau
    Languages coaches Kim Andringa, Zsolt Boros, Rita Bukauskaite, Pierre Daubigny, Astrid De Graef, Nicole Genovese, Hanna Hedman, Milena Ilieva, Lénio Kaklea, Nuno Lucas, Christa Antoniou, Barbara Matijevic, Nele Suisalu, Bara Prochaskova, Sergiu Popescu, Kristine Borodina, Sarka Vancurova, Gabrielle Sargent, Ania Szczepanska, Judyta Steffek, Alexander Nielsen.
    Translation – Project manager Marie Trincaretto
    English text Julie Etienne
    Production and administration Edwige Dousset assisted by Justine NoirotInvited audio-document collectors Christa Antoniou (CY), Zsolt Boros (HU), Tamara Bracic Vidmar (SL), Rita Bukauskaite (LIT), Ida Daniel (BUL), Milena Ilieva (BUL), Pierre Daubigny (POL), Ania Szczepanska (POL), Glen Falzon (MT), Antoine Cassar(MT), Nicole Genovese (FIN), Kim Jeitz (LU), Genevieve Leyh (ENG), Lenka Luptakova (SK), Shane Mansfield (GLA), Barbara Matijevic (HR), Sabine Macher (DE), Nicolas Melard (AT), Olivier Van Nooten (NL), Daniel Naami (NL), Federico Paino (IT), Ruta Pakalne (LV), Alise Bokaldere (LV), Birgit Peeters (BE), Tomás Pereira Ginet-Jaquemet (ES), Sergiu Popescu (RO), David Roenner (SE), Brigitte Schima (AT), Soren Stecher-Rasmussen (DK), Maia Means (DK) et Sotiris Vasiliu (GR).
    Thanks to Sarah Becher (DE), Nikola Bencova (CZ), Isabel Calvo (ES), David-Alexandre Gueniot (PT), Patricia Almeida (PT), Anneke Lacoste (NL), Nuno Lucas (PT), Marie Pullerits (EST), Raquel Rodrigues da Costa Gomes de Sousa (PT)
    Partners for collecting workshops Teatro Municipal do Porto, Festival Baltoscandal (Rakvere).Production Echelle 1:1 (with the support from Ministère de la Culture et de la Communication / DRAC Ile-de-France) in partnership with Ligne Directe/Judith Martin
    Coproduction Kunstenfestivaldesarts (Bruxelles), Théâtre de la Ville – Paris, Festival d’Automne à Paris, La Comédie de Reims – CDN / Festival Reims Scènes d’Europe, São Luiz Teatro Municipal / Festival Alkantara (Lisbonne), festival NEXT / Le phénix scène nationale Valenciennes pôle européen de création, Théâtre Garonne – Scène européenne (Toulouse), Festival Baltoscandal (Rakvere), Gothenburg Dance and Theatre Festival, L’apostrophe, scène nationale de Cergy-Pontoise et du Val d’Oise, Mousonturm (Francfort).
    With the help of the French Institute in Paris, Ville de Saint-Denis – Conservatoire de musique et de danse, Nanterre-Amandiers – Centre dramatique national and CND, Centre national de la danse, accueil en résidence.
    Suite n°3 ‘Europe’ is co-produced with the support of House On Fire and NXTSTP European Union’s Cultural Program.Creation Théâtre Garonne, scène européenne – Toulouse, October 10th, 2017.
    Length 1h30Languages English, French, Dutch, German, Portuguese, Hungarian, Spanish, Polish, Croatian, Danish, Maltese, Italian, Romanian, Czech, Slovak, Finnish, Bulgarian, Swedish, Greek, Estonian, Latvian, Lithuanian, Slovenian.Photo copyright © Frédéric Iovino

In 2013, the Encyclopédie de la parole initiated a cycle of four “Choral Suites” all based on the same principle: the live reproduction of audio-documents taken from the Encyclopédie de la parole’s collection. As with Suite N°1 and Suite N° 2, these speeches are faithfully re-enacted by two performers in order to render their oral dimension and all their melodic, rhythmic, intensive and timbral nuances. Re-enacting them is a way to make their reality audible whilst transposing them into the fictional setting of a theatre.

However, this time The Encyclopédie de la parole has decided to add an explicitly musical dimension to them: Joris Lacoste has proposed to Pierre-Yves Macé to compose for each of these words a specific piano accompaniment which makes each sound like folk songs, opera recitatives, French melodies, German lieder, Portuguese fados, pop hits or contemporary experimental pieces creating a polyglot spoken opera for two singers (Bianca Iannuzzi and Laurent Deleuil) and a pianist (Denis Chouillet).

At times, the piano implicitly reveals an surprising tune; at other times it highlights the melody or the rhythmic cadence of the words. Sometimes it imposes a disconcerting tone or even cuts loose from its accompanying function to become a competing voice. In all cases, it shifts the act of listening towards an unexpected and paradoxical place, even more so because of the nature of those speeches. They were collected across the European Union through to a network of local correspondants and were chosen both for their melodic qualities and the ambivalence of their content. They are indeed spoken words that, for various reasons and to varying degrees, we are reluctant to listen to.

Condescending sermons, safety instructions, embarrassing claims, verbal abuse, monologues of solitude, police brutality, hate speeches, pro-conspiracy rambles, standardized job interviews, personal-development coaching, public humiliation, adolescent moaning… In our daily lives, we are overwhelmed by utterances, that embarrass us, disgust us, bother us, make us angry, depress us, shock us, embarrass us, annoy us, or make us feel sorry for their issuers. What do we do with them? What strategies do we adopt to keep them at a distance? Can music allow us to neutralise them, to laugh at them, to momentarily ward off their violence or to shift and deepen the way we consider them? Can art free ourselves from the influence and the venom of forked tongues?

 

© Frederic Iovino © Frédéric Iovino © Frédéric Iovino

© Frederic Iovino