le debut de l`a

LE DEBUT DE L’ A
(acoustic lecture)
text pascal rambert
read by kate moran and pascal rambert
electric guitar by alexandre meyer
Le debut de l’A
(acoustic lecture)
Created in January 2005, at the Comedie Francaise by pascal rambert, with Audrey
Bonnet and Alexandre Pavloff, members of the Comedie Francaise, Le Debut de l’A is
also regularly presented under the form of an acoustic lecture by the protagonists of the
story: new york performer Kate Moran and pascal rambert. For this lecture –
performance, they are accompanied by Alexandre Meyer on the electric guitar.
Summary
Credits
Le debut de l’A
note by pascal rambert
Excerpts
About pascal rambert
About Alexandre Meyer
About Kate Moran
Press review
Liberation – Maia Bouteillet
Company Contacts
Credits
text Pascal Rambert
The Contacted Kate Moran
The Parisian with arrow Pascal Rambert
Electric guitar Alexandre Meyer
Production side one posthume theatre
in co-realization with the festival d’Avignon
This text, published by the edition Les Solitaires Intempestif, was created on commission
for France – Culture and received theAide a la Creation d’oeuvres Dramatiques
(DMDTS/ Ministere de la Culture).
Special Thanks to Lucien Attoun and Stephane Caron.
Le debut de l’A
note from pascal rambert
In fact, I wrote Le debut de l’A, in Paris during the month of august 2000. I rarely write
in Paris. But that time, I wrote in Paris. In the heat of Paris during the month of august.
In solitude. And missing the woman I loved. Truly. We had just finished creating a
beautiful project together : the epic of Gilgamesh for the Festival d’Avignon. She was a
part of the American distribution and when the festival finished, she went back to New
York. My body and my spirit, like after every show, were devastated. I was devastated
and like after each show, I was more poor than before. It is in this poverty that I wrote.
And I hid nothing. Everything is true. Everything that I relate is true. Except the
accident at the end, which sees us die. But everything is true. I didn’t even think to give
names to the characters : they are named after us. I hid nothing. I did nothing but listen
to what my lack had to say. I retranscribed. I observed myself. I silently spoke each day
with the loved one. I closed the shades in the middle of the day and I clenched my teeth.
What I recount is this unique moment at the beginning sentiments of love that we never
want to see end. When finally it all begins.
Pascal Rambert, November 2004
about pascal rambert
pascal rambert. 1962. Author. Director. Lives in Paris. His texts are published by Actes-Sud
Papiers (between 1988 and 1991) and the Solitaires Intempstifs (since 1997).
theatre
In 1984, he began to write and direct his own text:
Désir, Les Lits (1984) at the Centre dramatique national in Nice
Météorologies (1985) Espace Pierre Cardin, Printemps du Théâtre - This text received the Prix
spécial USA
Allez Hop (1986) Festival d‚Eté de Seine Maritime, Rouen / Ménagerie de Verre, Paris / Théâtre
des Bernardines, Marseille / Théâtre de la Salamandre, Lille
/ Théâtre 140, Bruxelles
Le Réveil (1987) Centre national des ecriture du spectacle - Avignon / Théâtre Paris-Villette
At the invition of Alain Crombecque, he created Les Parisiens (1989) at the 43rd Festival
d‚Avignon and at the CDN d’Aubervilliers (re-edition by Edition Actes Sud - Papiers in 2003).
After many tripsto workinthe United States and the MiddleEast, between 1990 and 1991, JeanPierre VincentcalledfromNanterre, pursuing his work as a writer and director with John &
Mary(1992) and De mes propres mains (1993).
He created Race (1997) at the Festival Octobre in Normandy and at the invitation of Stanislas
Nordey, it was presented at the Theatre Gerard Philippe in Saint – Denis in 1999.
He has also directed texts by other authors:
L’interview qui meurt / Jan Fabre/ Theatre Royal Flamand Bruxelles (1994)
Felicite / Jean Audureau / Theatre de la Commune Aubervilliers (1994)
W/D x 4 dans mon lit / (cut up polyfonik) on the journal of Andy Warhol and the discourse of the
Descartes method / L’Odeon – Theatre de l’Europe (1994)
Anthony and Cleopatra / Shakespeare / Maison de la Culture deBobigny (1995)
He workedinthe United States, where he mounted Burying Moliere by John Strand at the
Experimental Theatre Wing at New York University (1990), Race, English version in Los
Angeles with the LAPD Theatre Group – USA (1999).
It was in 1998 that he commenced his work around the Epic of Gilgamesh (Experimental Theater
Wing, New-York University - USA / Institut Supérieur d’Art Dramatique / Damascus - Syria /
Les Friches de la Belle de Mai - Marseille), a show that would one day be completed at the
Festival d’Avignon 2000, in a 25 acre sunflower field. This show was also remounted on tour, in
a stage version at: the Maison des Arts in Créteil, the CDN of Orléans, the CDN of Caen, the
Dieppe Scène Nationale and at the Bonlieu Scène Nationale of Annecy (2001). At this time, in
2000, he published through Solitaires Intempestifs the Recit de la preparation de Gilgamesh
jusqu’au la premiere repetition en Avignon, a journal following the progress of this ambitious
project.
In 2000 - 2001, Pascal Rambert created workshops with actors at the CDN of Caen and at the
Jeune Theatre National (JTN). Race was published in the review THEATRE FORUM (translated
by Michael Sadler - 2001). Le Début de l'A. (chanson), a commissioned piece for France Culture,
was published by Solitaires Intempestifs (aug. 2001). A recording of the piece was done by Judith
Henry and Hugues Quester, which then aired on the radio by France Culture (sept. 2001). Within
this same year, other artists also mounted the past works of Pascal Rambert: Long Island in
Toulouse/ Les Parisiens at the Festival des Arts- Monbouan. Also in 2001, he created
Asservissement Sexuel Volontaire at the Théâtre National de la Colline in Paris, which went on to
tour at the Théâtre des Salins - Scène Nationale de Martigues and at the Bonlieu Scène Nationale
d'Annecy (march 2002).
In 2002/ 2003, to prepare for Paradis (un temps a déplier), many workshops occurred: La
Menagerie de Verre/ Paris, la Halle aux Cuirs- Parc de la Villette/ Paris, la Comedie de CaenCDN de Normandie, Les Subsistences/
Lyon, Bonlieu- Scene Nationale/ Annecy, Mains d'Oeuvres/ Saint-Ouen, Le Cargo/ Grenoble,
Ballet Atlantique- Regine Chopinot CCN/ La Rochelle). These installation/ performances <in real
time> took on the name Formes Sans Ornements (FSO). During these work sequences, Jean
Christian Riff shot S'eloigner du theatre, a documentary film on the work of Pascal Rambert and
this new process of creation.
In january 2004, Pascal Rambert created PARADIS (un temps a deplier) at the Theatre National
de la Colline, which went on to tour at the CDN in Caen, at the Bonlieu, Scene Nationale
d'Annecy and for the Festival Perspectives in Sarrebruck/ Germany.
In January 2005, pascal rambert created the installation and directed his text Le Debut de l’A
(2001)at the Comedie Francaise.
At the same time he began a three year residency at the Bonlieu Scene nationale in Annecy,
where he has conducted many work sessions for his upcoming project : AFTER/BEFORE, which
canbe seen at the Festival d’Avignon 2005.
Cinema
Present duringthe (ateliers d’ecriture physiques orales et plastiques en tempsreel), Jean Christian
Riff realized in 2003 a documentary film on the work of pascal rambert and this new process
ofcreation : S’eloigner du theatre (heure d’ete production – 52’).
In april 2004, pascal rambert realized his first short film : Quand nous etions punk (15’ – 35mm)
screen play direction pascal rambert / images Caroline Champetier / interpretation Kate Moran
and Nicolas Granger / production Les Films du Belier + France 2) diffusion autumn 2004 on
France 2 and presented at the Festival international for film in Locarno (section cineastes of the
present). This film was a part of the selection for the Festival Paris Tout Court in 2004 (diffusion
at the cinema Arlequin the 7 december at 13hand the 11th December at 21h).
At the beginning of 2005, he filmed Car Wash (15’ – 35mm) screen play direction pascal rambert
/ images Caroline Champetier / interpretation Kate Moran Olivier Torres / production Les Films
du Belier + France 2).
HE continues his cinemagraphic work this april 2006 with the realization of his first feature La
Baie de Tokyo in Paris, Los Angeles, Kyoto, and Tokyo, his original screen play.
Opera
In September 2004, pascal rambert did the installation and direction of Philomela, world premier
of the opera of James Dillon in Porto – Casa da Musica. A tour followed in the 2004 – 2005
season, with the Festival MUSICA in Strasbourg and at the Ateliers Berthier du Theatre national
de l’Odeon in april 2005 in Paris.
In September 2005, pascal rambert will do the installation and direction of Pan, world premier of
the opera by Marc Monnet at the Opera national du Rhin in Strasbourg in the framework of the
Festival MUSICA 2005.
Workshops / Instruction
pascal rambert regularly organizes workshops around his work and directs or writes for young
professionals (3 + 2 + 1) for the students of the Conservatoire national de Region Nord Pas-deCalaiis (Opera de Lille) and for the students of the Ecole Regionale des Acteurs de Cannes Long
Island (1996) (La Menagerie de Verre in Paris).
He has taught at New York University, the University of California Los Angeles, at the Dramatic
Institute of Damascus, and at the Jeune Theatre National.
Dance
In april 2005, at the Centre de Developpement Choregraphique in Toulouse, he created his first
piece of dance direction as a show for the end of the promotion 2005 :
TO LOSE / PERDRE.
In may 2005, pascal rambert will continue his new work around contemporary dance in the
framework of the ex.e.r.ce, cycle of formation initiated by the Centre Choregraphique national in
Montpellier at the invition of Mathilde Monnier.
Radio
pascal rambert writes for France Culture : Rechute (1986), Le Reveil (1988), Ose le Magnifique
(1996), Race (1997), Brecht / Cabaret (Festival d’Avignon 1998), Le debut de l’A (2001), Mon
Fantome (2002).
Editions
pascal rambert was a scholar at the Centre National des Lettres for Le Réveil (1987).
With John & Mary, (1990) he received the prix Villa Médicis Hors les murs.
In 2003, he was a grant recipient at the Villa Kujuyama /Japon.
Le Réveil, Éditions Actes Sud-Papiers, 1988
Les Parisiens, Éditions Actes Sud-Papiers, 1989 (réédité en 2003)
Les Dialogues, Éditions Actes Sud-Papiers, 1991
John & Mary, Éditions Actes Sud-Papiers, 1992
De mes propres mains, Éditions Les solitaires intempestifs, 1997
Race, Éditions Les solitaires intempestifs, 1997
Long Island, Éditions Les solitaires intempestifs, 1998
Race, published in English in the Théâtre - Forum (translation Michael Sadler), 1999
Récit de la préparation de Gilgamesh, Éditions Les solitaires intempestifs, 2000
Asservissement sexuel volontaire, Éditions Les solitaires intempestifs, 2000
p.r. auto-interview trafiquée en plein air 6204+3, in LEXI/textes 5, Éditions de L’arche, 2001
Le Début de l’A, Éditions Les solitaires intempestifs, 2001
Où le plus grand événement est l’envol d’un coq de bruyère, nouvelle auto-interview enregistrée
à kyoto & tokyo en avril 2003 exemplaire 002, in LEXI/textes 7, Éditions de L’arche, 2003
Paradis (un temps à déplier), Éditions Les solitaires intempestifs 2004,
Mon Fantôme, Éditions Les solitaires intempestifs, appearing in january 2005
Continuité (livre et DVD) interview with pascal rambert by Laurent Goumarre, Éditions Les
solitaires intempestifs, appearing july 2005.
about Alexandre Meyer
Born in 1962, Alexandre Meyer is a composer-interpreter (guitar, table guitar, and saxophone).
He lives and works in Paris. He works with a number of groups who all have in common to
compose and interpret their own music:
Loupideloupe (B. Courtin/clarinet bass, F.
Costa/saxophone tenor, F. Minière/bass, M. Saladin/drums – 1982/1988), Sentimental Trois 8 (M.
Bauer, S. Cartigny, C. Cagnolari, J. Latarjet, F. Minière – 1991/1996), Les Trois 8 (F. Costa, A.
Meyer, F. Minière – 1988/2003).
As a soloist or with these formations, he gave a number of concerts: Loupideloupe (1982/1988),
Concert pour la Nuit de la Poésie (Pali-Kao plant/organised by TXT magazine/April 1983), Trois
8 (1988/2003), Sentimental Trois 8 (1991/1996), and also, with the Ensemble Modern Orchestra
(Francfort), he participated in the creation and tour of Walden, composition by Heiner Goebbels
(Directed by Peter Eotvos – November 1998).
In parallel, he entered into collaborations (alone or with others), for composition and/or musical
interpretation, with directors and choreographers such as:
•
Maurice Benichou (Les Trois Soeurs/ Anton Tchekov/ adapted by Jean-Claude Grumberg/ in
collaboration with Frédéric Minière/ created for the Festival d’Avignon/ Molière du Meilleur
Spectacle de la Décentralisation/ July 1988).
•
Muriel Bloch for musical tales (Princesse Camion/ in collaboration with Les Trois 8/ May
1990), Prince des aigues-marines (at the request of the Opéra Bastille in relation with the
Enchanted Flute by Mozart/ created at the studio de l’Opéra Bastille/ December 1991),
No/Contes (at the request of the Opéra Bastille in relation with Cinq No modernes by
Mishima/ created at the studio de l’Opéra Bastille/ March 1992), Qu’est ce que la vie
courante (at the request of the Opéra Bastille in relation with the Contes d’Hoffman by
Offenbach/ created at the studio de l’Opéra Bastille/ April 1992), Cendrillon et les gangsters
(detective fairy tale composed in collaboration with François-Noël Bing/ at the resquest of the
Festival Banlieues Bleues/ created at the Festival Banlieues Bleues/ March 1994).
•
Robert Cantarella (Sang chaud de la terre/ Christophe Huysman/ in collaboration with
Philippe Minyana/ May 1991. Siège de Numance/ Cervantes/ Festival d’Avignon/ July 1992.
Samedi, dimanche, lundi/ Eduardo de Filippo/ Théâtre du Gymnase (Marseille)/ Janvier 1998.
Anne-Laure et les Fantômes/ opera by Philippe Minyana/ Théâtre Gérard Philippe in SaintDenis/ March 1999. Les apparences sont trompeuses/ Thomas Bernhard/ in collaboration
with Frédéric Minière/ Created at the TNDB Dijon/ April 2001).
•
Michel Deutsch (Imprécation II/ Théâtre de la Bastille, Paris/ Best musical score award by
the Syndicat National de la Critique/ January 2003. Imprécation IV/ TNS, StrasbourgJanuary 1996/ Marstall in Munich, Théâtre de la Bastille in Paris – March 1996.
Aujourd’hui/ Chantiers de Théâtre Ouvert in Paris/ March 1998).
•
Heiner Goebbels (Ou bien le débarquement désastreux) texts by Joseph Conrad, Heiner
Muller and Francis Ponge/ October 1993).
•
Odile Duboc (Détails graphiques/ at the request of the French State/ 1986).
•
Mathilde Monnier (Les Lieux Là/ Heiner Goebbels/ Festival Montpellier Danse/ June 1998,
Théâtre de la Ville (Paris) April 1999, November 1999 during the Festival d’Automne).
He also collaborated to a number of expositions, or contemporary art events, such as:
•
Daniel Buren (40’ à Venise/ Théâtre Malibran/ Biennale d’Art Contemporain/ Venice/ June
1984. 60’ à Paris/ Grande Halle de la Villette/ for the Biennale de Paris/ April 1985.
Comme lieu, Situation II/ Musée des Arts Décoratifs de Paris/ March 1987. Watch the doors
please ! (with Frédéric Minière), short film on a work by Daniel Buren, shown in Chicago
between 1980 and 1982/1988.
•
Les années VIA/ Musée des Arts Décoratifs/ Musical Performances/ March 1990
France Culture [national public radio] producers such as Jacques Taroni or Blandine Masson
regularly request from him musical scores for radiophonic creations.
He has taken part in a number of cinematographic experiments, and his discography comprises a
number of tracks: Sale Bled (ST8-1/1991), Ou bien le débarquement désastreux (H.
Goebbels/ECM1552/1995), ST8 (ST8-2/1995), Imprécations II-IV (ST8-3/1996), Muriel Bloch et
les Trois 8 racontent Luda – du Caucase au Kamchatka (Collection l’Autre Label. Distribution
Mélodie/ 1997), a’y’l’ with Abdel Abrit (first volume of the “Les trois 8 présentent”/1997), Contes
Chahutés de Muriel Bloch. (Publisher “Enfance et Musique”/ DCCD 499/1998), 0/3 (2002).
about Kate Moran
After studying dance and theatre in the United States and while going to New York University,
she began working with artists on various projects, among them 1839 – Michael Counts / GAle
GAtes et al. NYC; Gilgamesh – Festival d’Avignon, 2000 ; So Long Ago I Can’t Rememer –
Michael Counts / GAle GAtes et al. NYC ; Asservissement Sexual Volontaire – Pascal Rambert /
Theatre Nationale de la Colline. She can also be seen in various films for the cinema and
television in both the United States and France. She collaborated with Jan Fabre on The Angel of
Death and with GAle GAtes et al on The World, an odyssey in or more parts. With Pascal
Rambert and Alexandre Meyer she interprets La Contactee in Le Debut de l’A (on tour
worldwide). She participated in Formes Sans Ornament (FSO) and was an interpreter in Paradis
(un temps a deplier). Her voice can be heard on the latest release by the group M83, Before the
Dawn Heals Us. She lives and works predominately between Paris and New York City.
Excerpts from the text
[…] The Parisian with arrow
You have a contract
This contract is your first contract
You don’t know another
This contract opens in two exemplaries:
one part the contracted
the other part the contacted
You descend into the heat of Paris
In the middle of july
The heart light
In the het of july
your contract drafted by modesty
You leave for a meeting
The contacted
In the heat of july
Open hearted
You receive your contract charged with modesty
You are the contacted
In New York
In the city
In the heat of the summer
You leave for a meeting […]
[…] In the airport bathroom provoking in struggle the neon light I ask the mirror that
gently speaks to me I say mirror you see well my face is merciful in my face the soot the
suffer and the exstiguished sparks the marks of fireworks past and the joy still alive the
chagrin the bursts of happiness the traces of life to repurchse when they arrive face hide
nothingoffer yourself as life makes you hold in you there there where you are the most
visible in the neon light hide nothing don’t search to seem more beautiful more
formidable more remarkable show yourself put yourself under the neon in the position of
the ravished in the position of the brutalized […]
[…] Le debut de l’a. le debut de l’a.ledebut de l’amour
the beginning of. the beginning of. the beginning of love.
Is a strangemoment.
That makes us drown.
Le debut de l’a. le debut de l’a. le debut de l’amour
The beginning of. the beginning of. the beginning of love.
Is a strange moment.
I am willing to disappear […]
20 december 2003
100 Above Below, mode express
At la Vilette a festival of “sites” of twenty minutes
What common point between all the propoitions programmed in the framework of the
first festival “100 Above Below” at la Villette (where the welcome in this time of
Vigipirates reinforces not most agreeable)? Nothing, if it is only the “sites” of the
twenty minutes present a debut of the night are all issues of artists in residence
developed in situ over two years. This type of formula permits the spectator to
discover many projects in the same night – and a programmer to give the impression
of mounting many things – but this shows itself in double decisive.
Twenty minutes given to see a universe, it’s short and it’s risky. So, the first night, the work
of Philippe Eustachon and Yvett Rotcheid, Kamikaze Taxi, inspired by a eponymous
Japanese film, conducted in exactly fifteen days (writing by Mexican writer Mario Bellatin
included), mixed with humor between theatre, cinema, music, and politics (scene and room
also), but this complex projects merits alittle more time.
In full rehearsal for his Paradise, presented in January at la Colline, Pascal
Rambert outlined the dangers of the lecture, offering the very beautiful pages of
a text written almost two years ago, following a command by Lucien Attoun.
Standing behind a microphone, text in hand, the author speaks his words with
the American actress Kate Moran, blonde sylph, to whom it is dedicated. Le
Debut de l’A1 – “A” like “amour (love)” but also like “absence” and “attente
(wait)” is a poem for two voices with a musicality chargedwith desire and lack
much like a ballad of Eros, lightly on the steps of the Nouvelle Vague (New
Wave), on the streets of Paris and New York. The extreme simplicity with which
the two divulge a little of their intimacy makes these twenty minutes a rare
moment.
Also showing, other authors: the Portugese Joao Fiadeiro and Pedro da Costa for TheEnd of a
Love Affair; the company La ou theatre and Aristoklas (Belgium) for IAnopo…, a
performanceinspired byMichaux.
MAIA BOUTEILLET
1
Ed. Solitaires intempestifs.
Company Contacts
side one post hume theatre
138 rue de Vaugirard – 75015 PARIS
t. 01 43 06 32 06 / f. 01 47 83 47 79
email [email protected]
contacts : Juliette Roels / Claire Guieze