- Conception : Encyclopédie de la parole
- Composition and direction : Joris Lacoste
- Composition and music : Pierre-Yves Macé
- Cast : Bianca Iannuzzi, Laurent Deleuil and Denis Chouillet (piano)
- Artistic collaboration : Elise Simonet
- Choreography : Lenio Kaklea
- Set & light design : Florian Leduc
- Sound : Stéphane Leclercq
- Technical management on tour Florian Leduc or Nicolas Bats
- Costumes : Ling Zhu
- Chef de chant : Vincent Leterme
- Coaching vocal : Valérie Philippin
- Staging intern : Yvan Loiseau
- Translation – project management : Marie Trincaretto
- English text : Julie Etienne
- Languages : English, French, Dutch, German, Portuguese, Hungarian, Spanish, Polish, Croatian, Danish, Maltese, Italian, Romanian, Czech, Slovak, Finnish, Bulgarian, Swedish, Greek, Estonian, Latvian, Lithuanian, Slovenian
- Collecting coordinators : Joris Lacoste, Valérie Louys, Marion Siéfert, Elise Simonet
- Invited archive 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) and 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)
- Language 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 and Alexander Nielsen
- Production and administration Echelle 1:1 / Edwige Dousset assisted by Justine Noirot
- Project development, production and distribution Ligne Directe / Judith Martin & Marie Tommasini
- ‘ Distribution & tour management Garance Crouillere +33 6 51 14 62 68 – firstname.lastname@example.org
- 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
- Coproduction : Kunstenfestivaldesarts – Brussels, Théâtre de la Ville – Paris, Festival d’Automne à Paris, La Comédie de Reims – CDN / Festival Reims Scènes d’Europe, Sao Luiz Teatro / Festival Alkantara – Lisbon, festival NEXT / Le phénix scène nationale de Valenciennes, 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, Künstlerhaus Mousonturm
- 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, residency
- Suite N°3 ‘Europe’ is co-produced with : the support of House On Fire and NXTSTP and European Union’s Cultural Programme
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?