Suite n°4 :Joris Lacoste

Conception Encyclopédie de la parole & Ictus
Composition (dramaturgy) Joris Lacoste
Composition (instrumental music) Pierre-Yves Macé
Composition (electro-acoustic music) Sébastien Roux
Direction Joris Lacoste
Audio document collectors Joris Lacoste, Oscar Lozano Pérez and Elise Simonet
Sound Stéphane Leclercq and Alexandre Fostier
Light design and scenography Florian Leduc
Graphic design and video Oscar Lozano Pérez
Stage Management Cora Oosterlink
Artistic collaboration Elise Simonet, Oscar Lozano Pérez and Nicolas Rollet
Production and administration Edwige Dousset and Garance Crouillère assisted by Victoire Costes
With
Hugo Abraham (bass, electric bass)
Tom De Cock (percussion)
Chryssi Dimitriou (flutes),
Luca Piovesan (accordion)
Jean-Luc Plouvier (electronic keyboard)
Eva Reiter (Paetzold flute, viola da gamba)
Primož Sukič (electric guitar, mandolin, banjo)
Production Echelle 1:1 (company subsidized by the Ministère de la Culture et de la Communication / DRAC Île-de-France, by the Conseil régional d’Île-de-France and by the Institut Français de Paris for its tours abroad) in partnership with Ensemble Ictus (supported by the European Commission, the Flemish Community – Vlaamse Overheid et Vlaamse Gemeenschapscommisie)
With the Fondation d’entreprise Hermès within the framework of the New Settings Program
Coproduction Festival d’Automne à Paris, MC93 – Maison de la Culture de Seine-Saint-Denis, Théâtre National de Strasbourg, Wiener Festwochen, KunstenFestivalDesArts, Ensemble Ictus, Teatro Municipal do Porto, Le Quartz – Scène Nationale de Brest, Festival Musica, Kaaitheater.
With the participation of DICREAM
Suite n°4 was in residency at Les Subs during the Season 2019-20, at MC93 – Maison de la Culture de Seine-Saint-Denis and at Théâtre National de Strasbourg, Festival Musical.
Guest collectors Harris Baptiste, Charlotte de Bekker, Tom Boyaval, Sachith Joseph Cheruvatur, Sibel Diker, Julie Etienne, Lucas Guimarães, Otto Kakhidze, Priscila Natany, Nicolas Rollet, Ghita Serraj, Prodromos Tsinikoris, Ece Vitrinel
With the help of Naby Moïse Bangoura, Anne Chaniolleau, Maria Cojocariu, Hélène Collin, Pauline et Balthazar Curnier-Jardin, Monica Demuru, Guillaume Deloire, Maria Clara Ferrer, João Fiadeiro, Karin de Frumerie, Fanny Gayard, David-Alexandre Guéniot, Hanna Hedman, Oleg Khristolyubskiy, Anneke Lacoste, Kathy Kyunghoo Lee, Sabine Macher, Federico Paino, Jin Young Park, Sergiu Popescu, Kittisak Pornpitakpong, Irina Ryabikina, Bernhard Staudinger, Giorgia Vignola, Ling Zhu
Special thanks to Pierre-Olivier Boulant
Photo copyright GHOST Editions
Duration 1h55 without intermissionLanguages English, Italian, German, French, Hebrew, Thai, Spanish, Japanese, Malayalam, Swedish, Dutch, Arabic, Portuguese, Napolitan, Russian, Scottish Gaelic, Korean, Soussou, Shanghainese, Catalan, Sicilian, Greek, Tomáraho

For the final installment in its series of Suites, l’Encyclopédie de la parole has chosen to make you hear the raw material that provides the basis for its performances: the recorded voices of its sound collection.

No longer is it actors that give life to lost voices, but the speakers themselves who return from the past to speak with their own voices, their original melody, their unique tone, their own breath.

Set to music by Sébastien Roux, the words sound out from the stage, carrying with them spaces, images, situations, frictions, blocs of tension or emotion, major or insignificant events – a thousand living details captured by the recording, played once again for us.

As in opera, the voices are supported, carried, transported by the instrumental accompaniment: performed by seven musicians, Pierre-Yves Macé’s score shifts our listening to reveal hidden textures. Blending the acoustic and the electric, displaying unusual combinations of timbres, the composition exacerbates perception and gives rise to emotions that are literally beyond words.

A kind of theatre of spirits then, but with living ghosts who speak, whisper, shout, address, laugh, converse, count, recount, explain, preach and console, rage and encourage, desire and regret, pray and give thanks, dance and suffer and live and do not want to die.

By focusing on the minute and infinite modulations of human speech, Suite No. 4 is a celebration of the most lively and the most fleeting: a way for “the music of dear voices heard no more” to ring out for one last time.