A children`s choir is singing loudly the Local, punctual
Transcription
A children`s choir is singing loudly the Local, punctual
My work is lifted by desire ; the desire stated in choices, moods, convictions and errors. These statements, wich we could consider private, are possible spaces (pictorial, video and above all performance) for research, general studies and detailed observations. Writing is composed in dialogues, theory or songs, where the act of speech is thought as a practice and drawing as an analysis. And, in my work, the word relationship is significant. Whether it is in love, semantic, sex or politics. The relationship is an engagement in two parts grouped and almost always independent. This “almost always” is a driving force in my practice : the performances are built with thanks of a collaborative work. The foundations of my written pieces evolve progressively throughout rehearsing and the exchanges with the interpreters of the played parts. The actors are chosen for their body language, their ability and also their inability, their obedience and also their lack of discipline. The choir is a tool that explains a complex plot that connects individuals (to be heard and to listen at the same time). Singing, or refusing to sing with somebody else appears as a central metaphor of all society. FANNY TORRES born in 1983 lives and works at Nevers, France +33 6 13 36 14 23 [email protected] www.fanny-torres.com Education 2008 DNSEP (MFA), École nationale supérieure des Beaux-arts de Lyon, France 2007 Master in Fine art, Escuela Nacional de Pintura, Escultura y Gravado, Mexico.DF. 2006 DNAP (BFA), École nationale supérieure des Beaux-arts de Lyon, France 2011 Cêfêt_Versions des Faits, French Institute of Lisboa, Portugal 2010 Solo Show on line, Le Flac, http://www.leflac.fr 2009 Solo Show, Aristologie, Néon, Lyon. credits : Cristian Guardia Jacinto (2011) Shows 54ème Salon de Montrouge. 2008 6x2, Galerie La Rage, Lyon 2007 La poésie/Nuit, Chantier Public, Lyon. Performances Production de rencontre, Imergência, French Institute of Lisboa, Portugal 2011 Pénélope s’interroge quant à l’engagement..., Galerie Arko, Nevers. Her : « I sincerely doubt that the encounter is simply Commune feat. Fanny Torres, Chez Néon, Lyon one occasional binomial formed by two entities wich Unanimement Démarqués, Hors-les-Murs Parc Saint-Léger, Pougues-les-Eaux Aristologie~Soyons communistes, une bonne fois!, Chez Néon, Lyon 2009 Aristologie, Musée des Moulages, Lyon Mon Ambassade, c’est toi, Point d’impact, Piano Nobile, Genève 2008 Sur le front, performée par Benjamin Seror, Centre d’Etudes Poétiques, ENS-Lyon On, de F.Torres et Matthieu Schmittel, Théâtre des Ateliers, Lyon 2007 Ella me ha dicho que ella vendrá a hacer una acción mañana, CENART, Mexico.DF. would “meet by chance”... Him : Us two together could grasp the state of meeting. Her : To grasp the state of meeting ? To remake it at will ? But the state of meeting is precisely what defies the wills. How do you want to deliberately put yourself in a state of meeting ? How can one put himself in a position to be surprised ? Him : Well, first of all, put yourself in an available position...it’s necessary to be available, to be mindful to the world and to others. You know, a slight attention with a n upsurge of self-confidence added and a few smooth and aerial movements. Let’s allow us to be led, like that, impromptus... Publications Her : Thus, you wanna play at being agree ? Oscillations#1 2012 2011 Sauce Moutarde#1 2010 KazaK n#8 performant- Him : There we are ! Since the meeting is one big “Yes !”, since the meeting is a consent, let us manage to be agree ! Her : Very well, let us discus then [...].» Elle : « Je doute sincérement que la rencontre ne soit qu’un binôme occasionnel formé par deux entités se “rencontrant” par hasard... Lui : Nous pourrions à nous deux saisir l’état de rencontre. Elle : Saisir l’état de rencontre ? Pour le refaire à volonté ? Mais l’état de rencontre est justement ce qui échappe aux volontés et aux projets établis. Comment voulez-vous délibérement vous mettre en état de rencontre ? Comment peut-on se mettre en état d’être surpris ? Lui : Et bien rendez-vous tout d’abord un minimum disponible... il faut se rendre disponible, se rendre attentif au monde et aux autres. Une attention légère augmentée, voyez-vous, d’un regain de confiance en soi... agrémentée de quelques mouvements souples et aériens. Laissons-nous menés, comme ça, impromptus. Elle: Ainsi, vous voulez jouer à être d’accord ? Lui : C’est ça ! Puisque la rencontre est un “oui!”, puisque la rencontre est acquiescement, débrouillons-nous pour être d’accord ! Elle: Alors, très bien, discutons.» Aristologie~Soyons communistes, une bonne fois!, DVD box. 2008 LAPS n#3, 170 ex. 2007 fanny torres performe à mexico, off- set DVD box, 60 ex. Participation 2010 Hymne local ponctuel continué, Hors-les-Murs, IAC Villeurbanne Extras in several Bollywood movie and TV Serial, Mumbai. 2009 Montrouge’s auction. 2008 Poésie, performance by Benjamin Seror and Nicolas Boone, Théâtre des Ateliers, Lyon. 2007 Marina Bay, performance de B.Seror, Néon, Lyon Production de rencontre (Production of meeting) performance 18mn 2011 Production de rencontre is a dialogue written for two interpreters who don’t know each other. This dialogue reflects in real-time the idea of meeting. What is a meeting? What is an event? Are we now in a state of Meeting? … credits : arko (2011) Pénélope answers that (i stand up, slip a hood on and seize the loud-hailer) it is the experience of love that allows the abslolute. I add that the flesh is a whole thing ! (then I activate the karaoke) À cela, Pénélope répond que (je me lève, enfile une cagoule m’empare du mégaphone) c’est l’expèrience d’amour qui permet l’absolu. J’ajoute que la chair est un tout ! (puis, j’active le karaoké) You passionate me We surpass ourselves : Erotic is my ambition, Love is illumination. Tu me passionnes, nous nous dépassons : L’Érotique est mon ambition. L’amour est illumination. In that, Erotic is sacred (sex has never set anyone free ) En cela, l’Érotique est sacrée (le sexe n’a jamais libéré) I commit myself and you act myself ! (The choir commits itself and stands up, fist raised) The absolute is in the enjoyed ! The abolute is in the enjoyed ! And pornology ! No mecanic ! I am aristocratic ! (The choir commits itself, fist raised ) No mecanic ! I am aristocratic ! (I sit down and I take off the hood ; Thierry leaves the chorus and joins the pedestal table) Je m’engage et tu m’agis ! (le chœur s’engage, poing levé) L’absolu est dans le joui ! L’absolu est dans le joui ! (le chœur s’engage, poing levé) Et la pornologie ! L’absolu est dans le joui ! Et la pornologie ! (le chœur s’engage, poing levé) L’absolu est dans le joui ! Et la pornologie ! No mecanic ! Je suis aristocratique ! (le chœur s’engage, poing levé) No mecanic ! Je suis aristocratique ! Transition Zone : is a corridor allowing the set up. There one takes off one’s shoes undresses and equips oneself. It makes the link between outside and the relation zone. Relation Zone : is an action space where things are brought into play. Only the sound of gesture and its movement is allowed. Speech Zone : Exclusive place for spoken words, this area can be occupied by only one person at a time. It allows to enounce an idea, a question, a laugh or to express one’s displeasure out loud. Offside Zone : Inactivity zone. The inactive is the one that does not want to participate. There can be 3 inactives maximum. (Je m’assois et retire la cagoule ; Thierry sort du chœur et rejoint le guéridon) Pénélope s’interroge quant à l’engagement ou, Ou bien... ou bien (Pénélope questions the notion commitment or, Maybe... maybe) performance 40mn 2011 Pénélope... is a performance appropriating the creation of the myth of love. Confessions, magic tricks and troubadour songs are added to attempt a debate on love. This attempt is upheld and denied by a Tristan, a Don Juan and a choir. Unanimement démarqués (To free us from the marker) a one-hour group performance 2011 Unaniment démarqués is composed of 4 actions of 1 hour each one. These actions are activated by 13-years-old pupils. Where the participants ainm to justify their group. Four playing cards equal four “political exercises”: a choreographic notation on paper, a chromatic gradation, a monologue with several voices and a dialogue. article №9/ Renewal: Local initiatives are one-shot. Owndemocracy, direct democracy, or semi-direct democracy deny any stabilization, avoiding in that way any loss of living contents or the creation of a simplistic bureaucratic apparatus. Own-democracy is a regime of exception, it’s local, one-shot and continued. Aristologic oligarchies do not last. Any group needs more or less regular renewal of its acting class. Only exist situations. Thus by renewing the active ones, the, active elite is in a slow and continuous state of transformation. article №9 / Renouvellement : Les initiatives locales ont un caractère ponctuel. La démocratiepropre, démocratie directe, ou semi-directe se refuse à toute stabilisation, évitant ainsi la perte de contenu vivant ou la formation d’un simple appareil bureaucratique. La démocratie-propre est un régime d’exception, local, ponctuel et continué. Les oligarchies aristologiques ne durent pas. Tout regroupement a besoin d’un renouvellement plus ou moins régulier de la classe agissante. Il n’y a que des situations. Par l’effet de la circulation des Réalisants, l’élite agissante est dans un état de transformation lente et continue. Constitution locale, ponctuelle, continuée (Local, one-shot, continued Constitution) text 2010 Hymne local, ponctuel, continué (Local, punctual, continued Anthem) video, 3mn 2010 The Constitution locale ponctuelle continuée is a political act without any juridical values. It’s a fundamental law that manages relationships between people within my performances The Constitution is divided into three chapters : 1.Locality ; 2.Precariousness; 3.Punctuality. Inspired by a trip to India (where the national anthem is played at the beginning of every film screening), this video thanks the audience for standing up and listening the Local, Punctual, Continued Anthem, an emphatic music in MIDI format. Realizing instantaneously, without any gesture or word, what is happening inside me, there ! this insolates me! S’apercevoir dans l’immédiat, sans geste ni parole, ce qui se joue en moi, voilà! ceci m’isole! I am unique, (she is unique) impenetrable, (impenetrable) even when I screw, I remain unscrutable. Je suis unique, (elle est unique) impénétrable, (impénétrable) même quand je nique, je demeure insondable. In the secrecy, no one can replace you. ((a)) Dans le secret, personne ne peut vous suppléer. (bis) Chorus, in the dark, divided into several voices: Le chœur, dans le noir, divisé en plusieurs voix: You said and you don’t mention, respectively, with others or alone. ((a)) Vous dîtes et vous taisez, respectivement, communément, solitairement. (bis) Your interiority is relatively, linked to the exteriority, necessarily, and your silence with disclosing. Then neither spoken, nor hushed up, barely defeated, a silent man no longer exist. Hymne local, ponctuel, continué video, 3mn 2010 A children’s choir is singing loudly the Local, punctual, continued Anthem without any care for the meaning of words but with a real passion. Each syllable sung shoots up from the screen in a the shape of tricolored firework. Votre intériorité est relativement, liée à l’extériorité, nécessairement, votre silence à l’ébruitement. Puis ni dit, ni tu, tout juste vaincu, un homme tu n’existe plus. Aristologie performance, 11mn 2009 Aristologie questions the post-mortem transmission of who we are. Sung by 2 soloists (two “First person”) and a male choir (the “We”), this performance is a dual between the lonely man and the community. So, the “First person” is a creator, a spectator, an heir or a lover. The choir (beween being an antique choir and a military cadence) is like a solution, a weight and a challenge to our own transfer. credits : jean-alain corre credits : jean-alain corre Aristologie- dépeuplement (Aristology - depopulation) video installation 2009 This installation is the resulting depopulation of the performance Aristologie. The video has the same music as the performance in instrumentals, with the distribution of the lyrics in the form of a Karaoke.nstallation readjust music, lyrics and casting in a karaoké version. Singers are absent, but their voices are expected... Oligarchie aristologique - n°1 L’Une particulière (Aristologic oligarchy - n#1 The Particular One) series of numerical impressions, 50x50 cm, framing mate black metal 2009 These drawings schematize the relations, the ideas and contradictions evoked in the performance Aristologie : “ The particular One” , “ The Erotic” , “ A sterile couple = 2 citizens-consumers”, etc. Let us open the in between Let us gather without being bound Let us open the in between Let us get united without coming to an end. Ouvrons l’entre-deux Rassemblons sans unir Ouvrons l’entre-deux Unissons sans achever Relation, relation and separation. Men do not speak about relations. Women do not ask for narration. A minimum of distinction, and we will not copulate. Cha-cha-cha Rapport, rapport et séparation Rapport, rapport et séparation Rapport, rapport Rapport et séparation Ils ne parlent pas de relations Elles ne demandent pas de narration Un minimum de distinction Et nous ne copulerons cha-cha-cha Chorus (wisthling) Chorus (sifflement) Mon ambassade, c’est toi (You are my Embassy) performance 2008 Two coupleshaving talks and singing exchange their point of view concerning the setting in couple and the friendship. The words and displacements written down on the plate, each singer watchs out not to erase the partition; this precaution generating of the unbalanced movements. Mon ambassade, c’est toi - dépeuplement video installation 2008 This installation is the resulting depopulation of the performance Mon ambassade, c’est toi. The video has the same music as the performance in instrumentals, with the distribution of the lyrics in the form of a Karaoke.nstallation readjust music, lyrics and casting in a karaoké version. Singers are absent, but their voices are expected... credits : sébastien leseigneur - “ Well, we are mostly facing melodic moments there when everyone is expresses itself through one unique voice. - Mmh… it’s true that it we’d better not staying in a community form which appears to be more or less dubious… - It is necessary to add a multi voices text - Yes ! to evoke the idea of a group under way of formation… - So, this dialogue moment was not assigned (in the meaning of assigning roles) - Everything happens in real time : the speaking time being regulated by a listening principle - It’s about creating a group, where individualities always get back on top. - We are a plain and interdependent group ! - However, we refuse the unanimity or unison… - Not ! We are not unanimous ! - Or perhaps we are... in inhibition… Yes, our spontaneousness is inhibited here… - You mean I keep my distances ? - And that I dont devote myself to my surges ? - Yes. Each one here is an obstacle in expressing myself freely. I am wary... - We all are wary… of ourselves ! - Some of us have already left the group anyway... - And there is no doubt that they are the ones who currently make a show out of this performance, make a silent world. - You’ve just leave a line, did’nt you ? - Well, I’d say that, expressing myself through the doubt (the action is each time suspended ! ) my involvement falls apart... - All right, but your spontaneousness’failure leads to reason and theory. - You wanna talk about politics ?” 5 10 15 20 25 30 — “ Bon, on est surtout devant des instants mélodiques, là ; où tout le monde s’exprime d’un bloc. — Mmh… c’est vrai qu’il serait souhaitable de ne pas rester sur une forme communautaire, comme ça, plus ou moins douteuse… — Il est nécessaire d’ajouter un texte énoncé à plusieurs ! — Oui ! pour évoquer l’idée d’un groupe en formation… — Alors, cet instant dialogique n’a pas été distribué… distribué dans le sens ‘casting’. —Tout se distribue en temps réel : la parole se prenant sur un principe d’écoute. — Il est ici question de la création d’un collectif, où les singularités reprennent toujours le dessus. — Nous sommes un groupe uni et solidaire ! —Toutefois, nous refusons l’unanimité ou l’unisson… — Non ! Nous ne sommes pas unanimes ! — Ou peut-être si, dans l’inhibition… Oui, notre spontanéité est ici inhibée… — Tu veux dire par là que je garde mes distances ? — Et que, moi, je ne me livre pas à mes élans ? — Oui. Chacun ici est un obstacle à ma liberté d’expresssion, ou plutôt… je me méfie. — Nous nous méfions tous… de nous ! — Il y en a d’ailleurs qui ne participent déjà plus… — Et c’est sans aucun doute ceux-là qui font actuellement de cette pièce un spectacle, un monde silencieux. —Tu as sauté une ligne là, non ? — Bein… c’est-à-dire que, me manifestant par le doute – l’acte est à chaque fois suspendu tout de même ! – ma participation est rompue… — D’accord, mais l’échec de ta spontanéité éveille la raison et la théorie. — Tu veux parler politique ?” Nous ne sommes pas unanimes (We are not unanimous) performance, 40mn 2008 On (Us) performance /Matthieu Schmittel et Fanny Torres 2008 We are not unanimous is a written performance for a group: we are trying to create a being-together, with dialogue, song and silence. Thirty chorus-singers, a rock oldies group , a duet… and yet, each participant are found solitary withinin the group, because of the group. A rock’n’roll song in duet where the battery’s elements are progressively moved, scattered ; rhythm is very quickly exploded while voice is stretched little by little. The construction of the rhythm is preserved but the rhythm itself is not any more. Four minutes is the average duration for a popular song. And, a melody is popular : which is what brings us back to it’s vocal essence. It takes longer to articulate words than affects. mélodie informative Hum… the affect tells what it is as soon as it appears, but but the sentence and words take longer to unfold. It is about reproducing what is at the same time the most banal in phonation and the less common in the music repertoire. mélodie injonctive We are talking about intonation’s tics voice. The specific and well defined place of their tastes allows to build a discrete set of levels, an inside scale of their wills, and thus a combinatorial law in order to organize the memory. mélodie descriptive { { { Quatre minutes / représentent / la durée moyenne-----d’une chanson / populaire / et-----et une mé / lodie est / populaire----ce qui nous / ramène à / son essence vocale----- euh... les mots sont / plus longs à / s’articuler que----les affetcs / hum l’affect / dit ce qu’il est dès---la première / apparition / mais---mais la phrase / les mots prennent / plus de temps / pour se déployer----Il - s’a - git - de - repro - duire - ce qui - est / à la - fois - le plus - banal - dans - la - phona - tion / et_ _ _ _ le - moins - courant / dans - le - ré - per - toire - mu - si - cal / Nous - par - lons - des - tics - in - tona - tifs de - la - voix_ _ _ _ / La - place - bien - dé - ter - mi - née et - a - pré - hen - dée / de - leurs - de - grés_ - per -met d’é - cha_ - ffau - der / un - en - semble - dis - cret de - hau - teur, une - graduation -in -té - rieur / et - donc - une - com - bi - na - toire qui - ordonne - la - mé - moire / Quasi une chanson (Almost a song) performance, 7mn 2007 Quasi une chanson is a sung performance questioning the loss of the intonation, and thus the difficulty for interpreting the meaning of a sentence when this one is sung.