ARTISTES HAPPYNEST #1

ARTISTES HAPPYNEST #1 2017-2018

 

Amélie Poirier // Voilées

Amélie Poirier was born into a family of embroiderers from northern France. It seems that his great-grandfather left for Algeria at the beginning of the 20th century to trade. In its family mythology and through this craft, there are therefore incessant back and forth between this village in northern France and the Maghreb and the supposed violence of a colonial look.
" Voilées " is a dialogue between an actress / performer - who speaks out and those of other women around the "veil issue" - a dancer who manipulates embroidered fabrics from this village and an electro-acoustic musician who will work with the sounds of textile machines in particular.
Since 2013, Amélie Poirier has been working in Villers-Outréaux and the surrounding municipalities - the family village in northern France - and has been talking to residents about textiles (she then works on these texts in order to stage them through readings on the territory: this project is supported by the Département du Nord and the Region in particular). This project - although distinct from this show currently being created - allows him to have a first inventory of the complex links between the "textile and territory".

Marion Sage // En Voût

I am completing a doctoral research on artists from the interwar period whose political positions led them to create, in a context of survival, the exile of Nazi Germany. Faced with the photographic archives of these bodies and the narrative of these artists, destabilizing questions emerge: what is it that makes dance political? Is there a "political gesture" beyond political ideas?
My current choreographic research attempts to set this reflection in motion.
It is not a question of politics but of experimenting with different ways of "taking a stand" based on speeches that interpreters have in their ears. The expression "to take a position" will thus be included in several of its meanings. "Where to find yourself and how to orient yourself" are questions that arise on several levels. Where do we start from and where do we go from here?
We can focus our attention on a pivotal point of our own body but it is also possible to consider ourselves in a larger, even gigantic space, on the scale of space, of the planetary system...
The social positioning itself is governed by questions of orientation: more to the right than the right, to the far left, always next to its neighbour.
The bodies of the three performers are always in connection: each evolves in space while keeping the same reference point on the body of another. Within this interconnection, which constitutes the global movement of bodies in space, the dancers are immersed in a sound montage, different for each one. This montage influences the rhythm, presence and gestures of the performers. What they hear is sometimes sounded: by their own voices or by the intervention of a sound artist who makes certain passages of the soundtracks audible to the audience.

Ardestop // In Mortem

The primary intention is to stage a joke, a tale, a fiction based on real facts.
We seek to address contemporary issues based on the most advanced scientific and medical research in terms of transhumanism. Whether it is biotechnology, augmented humans, bio-medicines, DNA sequencing or connected objects, our society is changing in unexpected ways. Our next great revolutions will take place inside our bodies. We will discuss the philosophical aspect of these future "great ethical upheavals". All the interest we have in these great researches and inventions will not be based on what already exists. No. Our starting point is imagination as a source of invention. Artistically we will bypass these subjects to address only one question: Does (eternal) life have a meaning?
We are talking about the standards that are set in our societies of excellence and success. These standards become health references until they define the quality of our small intestine. We know that we will always be someone else's patient. We question the fact that the first vector of success is our good health. Whether this health is at the same level as our salaries, promotions or benefits. We question the health of the Society by example. Have we become qualitative and evaluable? From then on, being in default would become one of the symptoms triggering the refusal, the rejection, the dismissal that this "future society" will judge at its own discretion. What position should we take in the kingdom by the standard metre of the "I"?

AMELIE POIRIER

MARION SAGE

ARDESTOP

 

ARTISTES HAPPYNEST #2

ARTISTES HAPPYNEST #2 2018-2019

 

Amélie Marneffe // Celebration

Celebration is a place where you enter to see and participate in a performance and which takes the form of a crossing. Our vehicle to accompany the audience is vibratory and ecstatic, it takes the visitor/spectator into a unique experience between now and elsewhere. The audience is accompanied in this crossing of the deep layers of the human and the inhuman, the animate and inanimate by direct observations, sensations and participation, and it is by giving spiritual matter, experiences and the spectacular that the artistic proposal attempts to bring about a virtuous transformation in the public's relationship to its existence at the time of work.
The Celebration project is designed for 3 performers, including one light performer (Anthony Merleau, Simon Loiseau and Amélie Marneffe) and is designed for a three-dimensional presentation space that can accommodate the spectator in walking or sitting forms. The device, which does not require hanging, allows the work to be presented in places of entertainment or exhibitions.
The performers will alternate moments of direct and personal exchanges with the visitor and spectacular ones with the entire audience.

 

 

Thibaud Le Maguer // Péril

My artistic approach is halfway between visual arts and choreography. With my pieces and performances, I set up plastic devices, activated by dancers, in order to build a poetics of transformations. Sounds, bodies, lights are intertwined and through this mesh invite the spectators to build themselves what they are perceiving.
My dramaturgical choices, devoid of narrative, aim at constant equivocity, sufficient instability for the spectators to encourage the displacement of their perceptions.
My choreographic writing is a writing of relationships (between the dancers' bodies, the ground, the air, space or possible objects). It is about clarifying ways of moving or being moved to connect with the other. I work to grasp the conditions for the appearance of images, to let them shine through rather than to fabricate them, preferring to build structures that welcome the hazard and are based on the exacerbation of the performers' sensations and emotions.
My choreographic writing is composed of several overlapping elements that encourage the performers to enter a particular body state, thus generating the emergence of a specific material in spontaneous gestures.

 

 

Julie Gouju // Faire le monstre

The research work will be guided by a question: How can an interpreter be a choir with several voices? What is the language of monsters? How can you speak it if you don't become a monster yourself? If monsters have bodies with several heads, do they speak languages to several subjects? How does the monstrous arise from the gap between a body and several voices?
Faire le monstre is a solo project for a female performer in which I continue my exploration of orality by looking for ways to be monstrous in the language. "Would a being who is nothing more than his language be a monster?" asks the contemporary poet Claude Louis Combet.
In this solo, I would like to create a language that coincides with the body and a body that would only be its language. For this solo, I would like to write a text. A text that says the word that happens and makes orality the subject of the writing process. I understand this text as a gesture, as something that can be written to be better undone on stage. It is a dance text whose meaning does not only belong to the realm of language and which no longer makes it possible to draw a clear boundary between the meaning of language and that of the body. By questioning these boundaries, he would question the meaning itself. In the end, this text does not seek to deviate from meaning, but to produce, by means of the senses, a deviation from meaning itself. This separation of meaning will be sought within the language, by the voice, but also in the gap between the voice and the body.

ARTISTES HAPPYNEST #3

 

ARTISTES HAPPYNEST #3 2019-2020

 

Caroline Décloitre (Hej Hej Tak) // Puisque nous sommes sauvages

In a world of communication and speeches that flow freely, the place left to the sincere word is not so obvious. I can be connected, virtual and physical, with millions of people, but is it enough for loneliness + loneliness to make people less alone? With 750 Facebook friends, who do we write to when we write?
With Puisque nous sommes sauvages I want to explore the very time of the encounter between two individuals. To dilate this moment, to stretch it, in order to question the conditions of its realization. To give to see the difficulties as the pleasure of sharing with the other, its interior and intimate worlds. Telling embarrassment, envy, boredom, emptiness sometimes also, words in the encounter. And to apprehend intimacy as the building space of a micro-community, the birth of a new plurality. Act of resistance against our solitudes.
Puisque nous sommes sauvages is a piece designed for 2 performers investing the mechanisms of the encounter.
With two, they seek how to talk to each other, and hear each other at full volume. They seek to appropriate a space of expression that has not been used before them and in which to make their words resonate. They seek their voice. By the body, by the sounds, by the breath.
They explore a gesture provoked by stuttering, the inability to say, blushing, slip-ups ... It is these tests, these failures, this perseverance in the need to say that will generate the movement. Our research around text and speech as sound material will be woven into the gestural writing of this duet, resonating the "poetic stuttering" of this encounter, the alteration of language caused by the collision between two solitudes.

 

 

Simon Capelle & Mélodie Lasselin (Zone Poème) // Barbare

 How can we speak, how can we imagine what is no longer there, what is missing, if we are not aware of this emptiness, this absence? Our research elaborates a story in several episodes, performances or representations, involving all European countries in a mythological narrative on love and relationship to the Other. We are creating an ephemeral and nomadic museum of living works, captured in this translation enterprise, always in a state of transformation, with the desire to welcome the passage of spectators, to allow it to see, hear and feel a poetic, political and common Europe.
Our research takes the form of a live show between performance and representation where the spectators are free to stay as long as they wish, as in a museum exhibition. We work with musicians, photographers, visual artists, scenographers to design a space between the museum and the set. A living space with ever-new metamorphoses, where everything is done in the sight of those present to share the translation experience, giving everyone the opportunity to perceive the process necessary for the transformation of episodes.
The first place is our body. We are interpreters of languages, forms, images, texts and sounds. We go to the European places of memory, representation and culture. We collect thoughts, words, differences and then charge the tray to catalyze our memories and emotions. We are always looking for diversity, not to build a succession, an amplifying list, but rather a transformation of energies and perspectives. Each episode decides for itself on its own constitution and is linked to others by the presence of those who live in space at that time.

As performers, our aim is to share in real time, to discover, to experience collectively, to be friends. We ask the question: what translation should we do to live the Europe of tomorrow?

 

 

Scheherazade Zambrano (La Malagua) // K( )SA

Scheherazade comes from the water; She was born in Mexico City, a city built on water that moves constantly and reminds us that it is alive and that movement is necessary to find balance.
With K( )SA she throws herself into the void and between flotation and suspension she questions herself: what is supporting us?
The search for the states of gravity between rope and body, between reversed coordinates, constellations at ground level and the liquid subsoil gives rise to another density: what are we (re)hanging on to?
K( )SA is the embodiement of questions about our links to the cosmos and our origins; a survey around the relationship between the body and gravity to look for other possibilities to be, from a change of perspective, a different body arrangement. For this, I rely on experimentation with different materials: water, air and earth.
How the relation between matter and density makes us feel a change in the way of experiencing gravity; or just to be? How does this feeling change our relationship to the environment?
Thinking about the territory on which we are moving and about the situation of the body as a territory leads to the possibility of questioning our borders, geographical - physical and emotional - and to erase the differences between space and place.
Questionning the spatial and temporal landmarks and openning the door to the creation of other spatio-temporal dimensions, to other possible forms of feeling, of embodiement; and why not, to come into being.