Deaf Art Magazine

AUTUMN 2014 / www.art-pi.fr / DEAF ART MAGAZINE
FREE
Deaf Art Magazine
N°8
"My profession
is the theater,
my soul
belongs to
the stage."
Maxim
Fomitchev
SPECIAL REPORT
Deaf-blind:
sensitive art
ART'PI! JUNIOR
Prehistoric Times
the origins of art
the tribe
The film that
revolutionized cinema
AGENDA
Festivals, shows,
exhibitions...
ESCAZAL FILMS présente
Isabelle Carré
un film de
BRIGITTE CATILLON
Ariana Rivoire
Jean-Pierre Améris
NOÉMIE CHURLET GILLES TRETON LAURE DUTHILLEUL
PHILIPPE BLASBAND ET JEAN-PIERRE AMÉRIS
SCÉNARIO ET DIALOGUES
imageVIRGINIE SAINT MARTIN montage ANNE SOURIAU son LAURENT LAFRAN, OLIVIER WALCZAK, ANNE GIBOURG, EMMANUEL CROSET
décors FRANCK SCHWARZ costumes DANIÈLE COLIN-LINARD casting TATIANA VIALLE, arda musique SONIA WIEDER-ATHERTON
directeur de production PASCAL METGE directeur de post-production EMMANUEL SAJOT
produit par SOPHIE RÉVIL et DENIS CAROT une production ESCAZAL Films
en coproduction avec FRANCE 3 CINÉMA, RHÔNE-ALPES CINÉMA avec la participation de la Région Rhône-Alpes et du Centre National du Cinéma et de l’image animée
avec la participation de FRANCE TELEVISIONS, CINÉ + en association avec CINEMAGE 8 et LA BANQUE POSTALE IMAGE 7
distribution DIAPHANA ventes internationales INDIE SALES
Art’Pi! / READ IT IN ISL / 3
Art’Pi! 3
Read it in ISL
Citation du mois
« Rêvez ! C’est gratuit ! »
vient de la réunion
de l’art et du " typique
Sourd " que l’on traduit
en signe par Pi.
Emmanuelle Laborit, comédienne
et directrice de l’International
Visual Theatre
Festival Clin d'Oeil
Notre partenaire
Your magazine is now available
in ISL (International Sign Language).
On your computer, simply
click
on
the QR code to access the videos.
Sourd est utilisé pour désigner ce qui est relatif à la culture Sourde.
sourd est utilisé d'un point de vue général ou médical.
With a hard copy of the magazine,
with your smartphone, here are the instructions:
Edito
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e nombreux mois se sont écoulés depuis la sortie du numéro hors-série dédié au tricentenaire de
l’abbé de l’Épée. Nous espérons qu’il vous a satisfaits,
tant au niveau du contenu et de la qualité graphique
qu’au niveau de l'innovation. En rendant les textes
accessibles en LSF grâce aux flashcodes, nous avons
franchi un cap que nous espérions depuis longtemps
et nous sommes fiers d’être arrivés au bout de ce
challenge.
2
Dans ce numéro, nous avons consacré notre dossier spécial au Festival Clin d’Oeil. Je tiens à saluer sa
persévérance et sa philosophie car, au fil des années,
il est devenu l’un des plus grands viviers artistiques
mondiaux, offrant une évolution professionnelle pour
chaque artiste et un bain culturel pour le public...
L’organiser et le rendre pérenne relève de l'exploit!
Mes félicitations à l’équipe de Clin d’Oeil et particulièrement à son fondateur
David de Keyzer qui contribue à l’enrichissement et à
la stimulation de la communauté Sourde.
Personne ne peut nous
Après ce numéro, nous avons
dû prendre du temps afin de
retrouver nos forces. Mais
nous n’avons jamais cessé de croire en notre magazine et nous revoilà, avec le numéro 7. Vous avez aimé
lire le magazine en version papier et voir les articles
en langue des signes grâce aux flashcodes, vous avez
souhaité qu’ Art’Pi ! continue d’exister ainsi, nous
l’avons fait !
Open the application.
enlever nos rêves.
Les obstacles sont pour nous des défis que nous avons
plaisir à relever ! Il y a, bien sûr, des conséquences
inévitables : le coût et le temps de préparation qui
s’allongent... Nous continuons à avoir comme objectif de vous offrir plus de régularité dans les délais de
parution. Il faut juste être encore patients et continuer
à nous soutenir, croire en nous, le temps de poser des
fondations de plus en plus solides.
LECTEUR
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4
Scan the code.
Watch the video.
Emmanuelle Laborit demanda un jour à de jeunes
élèves sourds quel était leur rêve. Pas un ne répondit. La comédienne les encouragea alors
: « Clin
Rêvez
Festival
d'Oeil !
Notre partenaire
C’est gratuit ! » Personne ne peut nous enlever
nos
rêves et il ne faut autoriser personne à le faire. Voyez :
David de Keyzer a rêvé son festival,
Jacques Sangla son
D
Websourd, Alfredo Corrado son IVT, Patrice Gicquel ses
livres... La liste est loin d’être finie, prenez la suite !
Citation du mois
« Rêvez ! C’est gratuit ! »
Emmanuelle Laborit, comédienne
et directrice de l’International
Visual Theatre
vient de la réunion
de l’art et du " typique
Sourd " que l’on traduit
en signe par Pi.
Edito
Sourd est utilisé pour désigner ce qui est relatif à la culture Sourde.
sourd est utilisé d'un point de vue général ou médical.
e nombreux mois se sont écoulés depuis la sortie du numéro hors-série dédié au tricentenaire de
l’abbé de l’Épée. Nous espérons qu’il vous a satisfaits,
tant au niveau du contenu et de la qualité graphique
qu’au niveau de l'innovation. En rendant les textes
accessibles en LSF grâce aux flashcodes, nous avons
franchi un cap que nous espérions depuis longtemps
et nous sommes fiers d’être arrivés au bout de ce
challenge.
Dans ce numéro, nous avons consacré notre dossier spécial au Festival Clin d’Oeil. Je tiens à saluer sa
persévérance et sa philosophie car, au fil des années,
il est devenu l’un des plus grands viviers artistiques
mondiaux, offrant une évolution professionnelle pour
chaque artiste et un bain culturel pour le public...
L’organiser et le rendre pérenne relève de l'exploit!
Mes félicitations à l’équipe de Clin d’Oeil et particulièrement à son fondateur
David de Keyzer qui contribue à l’enrichissement et à
la stimulation de la communauté Sourde.
Personne ne peut nous
enlever nos rêves.
Après ce numéro, nous avons
dû prendre du temps afin de
retrouver nos forces. Mais
nous n’avons jamais cessé de croire en notre magazine et nous revoilà, avec le numéro 7. Vous avez aimé
lire le magazine en version papier et voir les articles
en langue des signes grâce aux flashcodes, vous avez
souhaité qu’ Art’Pi ! continue d’exister ainsi, nous
l’avons fait !
Noémie Churlet
Directrice de
publication
Les obstacles sont pour nous des défis que nous avons
plaisir à relever ! Il y a, bien sûr, des conséquences
inévitables : le coût et le temps de préparation qui
s’allongent... Nous continuons à avoir comme objectif de vous offrir plus de régularité dans les délais de
parution. Il faut juste être encore patients et continuer
à nous soutenir, croire en nous, le temps de poser des
fondations de plus en plus solides.
Emmanuelle Laborit demanda un jour à de jeunes
élèves sourds quel était leur rêve. Pas un ne répondit. La comédienne les encouragea alors : « Rêvez !
C’est gratuit ! » Personne ne peut nous enlever nos
rêves et il ne faut autoriser personne à le faire. Voyez :
David de Keyzer a rêvé son festival, Jacques Sangla son
Websourd, Alfredo Corrado son IVT, Patrice Gicquel ses
livres... La liste est loin d’être finie, prenez la suite !
Noémie Churlet
Directrice de
publication
Erratum Hors-série : Page 16 : le père de l’abbé de l’Épée était architecte de Louis XIV et non de Louis XVI. / Page 18 : illustration
page de gauche « Planche préparatoire, crayonnée avec lettrage, propriété Dano ». / Page 19 : le personnage en bas de page
est Deseine et non Desloges. / Page 25 : photo de Felix Plessis et non Paul Choppin. / Page 49 : Les enfants du silence, Levent
Beskardes était co-metteur en scène. Si vous avez remarqué d’autres erreurs n’hésitez pas à nous le faire savoir.
Erratum Hors-série : Page 16 : le père de l’abbé de l’Épée était architecte de Louis XIV et non de Louis XVI. / Page 18 : illustration
page de gauche « Planche préparatoire, crayonnée avec lettrage, propriété Dano ». / Page 19 : le personnage en bas de page
est Deseine et non Desloges. / Page 25 : photo de Felix Plessis et non Paul Choppin. / Page 49 : Les enfants du silence, Levent
Beskardes était co-metteur en scène. Si vous avez remarqué d’autres erreurs n’hésitez pas à nous le faire savoir.
Directrice de publication
Noémie Churlet
Rédactrice en chef
Sophie Laumondais
Secrétaire de rédaction
Jeanne Bally
Rédacteurs
Arnaud Balard
OURDS
Véronique Berthonneau
Yann Cantin
Pierre Schmitt
Pauline Stroesser
NTERPRETES
Directrice de publication
Noémie Churlet
Rédactrice en chef
Sophie Laumondais
Secrétaire de rédaction
Rédactrices agenda
Sylvaine Beaughon
Célia Giglio
Traducteurs français/
anglais
Véronique Féau
Illustrateurs
Adrean Clark
Catherine Cointe
Jean-Marie Hallegot
Daniel Le Coq
Photographes
Webmaster
Jax Prod'Art Studio
Assistant de
communication
David De Filippo
Rédactrices agenda
Sylvaine Beaughon
Célia Giglio
Traducteurs français/
anglais
Véronique Féau
Sébastien Giozzet
Priscilla Newell
Pierre Schmitt
Directrice artistique
Jessica Boroy
Maquettiste
Sabine Salha
Illustrateurs
Adrean Clark
Catherine Cointe
Jean-Marie Hallegot
Daniel Le Coq
Photographes
Alex Sambe
Richard Zampolini
Assistant artistique
Fabien Chanut
Maquilleuse
Sophia Ballester
OURDS
NTERPRETES
Webmaster
Jax Prod'Art Studio
Assistant de
communication
David De Filippo
Assistante de publicité
Céline Hayat Bufarull
Association porteuse
du projet
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Toutes les publicités
concernent des services
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Nous échangeons toujours
avec les publicitaires pour
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Art’Pi! 5
4 / Art’Pi!
Columnists
YANN CANTIN
JULIE CHATEAUVERT
ALEXIS DUSSAIX
ELSA POTTIER
PERRINE ROSENZWEIG
PIERRE SCHMITT
Pauline Stroesser
CÉCILE TUARZE
Partners
comes from the combination of
"art" and "typical Deaf", which is
translated by the sign Pi.
Director of publication
Noémie Churlet
Editor-in-chief
Sophie Laumondais
Secretary to the editors
Jeanne Bally
Columnists
Yann Cantin
Julie Chateauvert
Alexis Dussaix
Elsa Pottier
Perrine Rosenzweig
Pierre Schmitt
Pauline Stroesser
Cécile Tuarze
Interns to the editors
Laurène Loctin
Carine Meyssignac
Art director
Jessica Boroy
Layout designer
Sabine Salha
Translators
French/English
Véronique Féau
Priscilla Newell
Illustrators
Margot Carrër
Aleksi Cavaillez
Dano
Domas
Jean-Marie Hallegot
Rudy McLoughlin
Elza Montlahuc
Émilie Ramain
Alex Sambe
Photographers
Marion Fregeac
Richard Zampolini
Translators LSF and LSI
Alexandre Daniel
Carine Meyssignac
Webmaster
Jax Prod'Art Studio
Partnerships and communications
Perrine Rosenzweig
Communications assistant
David De Filippo
Advertisements
Mathieu Baron
Élise Cadiou
Pierre Roujon
Contributors
Niels Barraud
Véronique Berthonneau
Igor Casas
Jakye Churlet
Pierre Cosar
Ariane Cousin
Amanda Everitt
Delphine Goiran
Céline Hayat-Bufarull
Jean-François Laumondais
Brigitte Philbert-Vivet
Sophie Pierozzi
Project management
Art’Sign à l'INJS
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75005 Paris
www.art-sign.org
N°SIRET : 49008480300025
ISSN 2118-5948
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Art’Pi! / EDITORIAL / 5
Deaf is used to designate
that which is relative to
Deaf culture.
deaf is used from a
general or medical point
of view.
I
Editorial
"I create sculptures
with my heart."
Jean-Pierre Malaussena, sculptor
"Break those too
conventional rules!"
n this new issue, Art’Pi ! Junior, the column devoted
to young people, is by far the one of which we are most
proud. Childhood is an auspicious time for imagination,
creativity and keenness of expression. The more stimulation, the more depth artistic works will have later in
life!
One should "trust one’s identity, one’s culture and one’s
language", insists Maxim Fomitchev, the mime and
clown. This is true at any age, as the collective SPILLPROpagation understands. These Canadian Deaf artists
break rules that have become all-too conventional, in
order to evolve in their art, true to their own vision.
If Deaf art is in full effervescence at the moment, a
delicate compromise remains to be found in order to
combine it with hearing culture. Les Amours inutiles
(Unnecessary Loves), by the Companies MaMuse
and L’inutile, rises to the challenge. Deaf and hearing
audiences have been given the rare satisfaction of being
able to truly share their impressions. Keep an eye on
Toulouse: there’s promising artistic potential there.
Art is forever surprising us with the force of its impact.
Adina Tal, director of the Israeli company Nalaga’at,
whose actors are deaf-blind, asserts: art transforms,
and allows one to be "in a position of giving to others".
But also to receive, as Nicole Troyano et Naji Hellal
explain to us: with other senses, like touch, art brings
other impressions.
Cover :
photograph by Marion Fregeac
Numerous treasures are awaiting you in this issue, I’ll let
you discover them! But before leaving you, give a special
thought to Jean-Pierre Améris, director of the film Marie
Heurtin. He accomplished what no other film director of
his stature has done: to provide professional film-shooting conditions for Deaf actors, without having "second
thoughts"! Might France be in the process of opening its
arms to Deaf artists?
.
Noémie Churlet
Director of publication
p.3
• Arnaud Balard, occupied with his profession as artist, leaves
the Art Ticket adventure. Our thanks accompany him. Alexis
Dussaix picks up the torch with this issue!
• Welcome to all the new writers! Which means… new articles
and columns!
• This issue is coming out more than a year after n°7, for financial reasons. No matter what our frequency of publication, we
will persevere. New areas are open: information videos on Facebook, a new look and new functions on our site… Surprises never
end!
Erratum n°7: Adrean Clark is not the creator of the
writing technique she uses in her comics.
6 / CONTENTS / Art’Pi!
Contents
OUR FAVORITES Les Amours inutiles
05
Editorial
09
What's new?
What is the difference between
mime and VV?
10
Our favorites
© Eric Vanelle
Les Amours inutiles: an
astonishing bilingual concept
12
Backstage...
BACKSTAGE... at the video-clip of Clin d'Oeil 2015
...at the video-clip of
Clin d’Oeil 2015
14
Art Ticket
The Virgin of the Rocks
17
© Marie Hyvernaud
THE SOUND OF SEEING Carmen
Beyond
Boundaries:
Canada
When Canadian Deaf art
spreads
18
On the trail of
FFO Maxim Fomitchev
Gustave Nicolas Hennequin,
sculptor
20
Bubbles and
Signs
Les témoins silencieux, a sequel
to the comic book
AT A GLANCE Malaussena
22
The Sound of
Seeing
Carmen, if the opera were
signed...
© Valentyn Vasyanovych
24
CAMERA, ACTION! The Tribe
The Fabulous
Fate of...
Maxim Fomitchev, clown artist,
mime and physical actor
30
At a glance
Malaussena, a timeless sculptor
Art’Pi! 7
34
Camera, Action!
Art’Pi! / CONTENTS / 7
SPECIAL REPORT Deaf-blind
© Michael Crotto
The Tribe, the film that
revolutionized cinema
36
Special Report
Deaf-blind: sensitive art
48
ART'PI ! JUNIOR Prehistoric Times
Art'Pi ! Junior
Prehistoric Times, the origins
of art
52
Agenda
The calendar of events not to
be missed from October to
December.
© Mellie Valénat
AGENDA Performing Arts
53
Where is it all
happening?
In the blink of an eye, find all
the Deaf events region by
region and abroad.
AGENDA Film and Video
Theater, puppets, music,
stories...
56
Film and Video
Documentaries, fictions, videos,
festivals...
58
Art/Culture
Architecture, History, sculpture...
60
Multimedia
Sites, blogs... everything to be
seen on the net
62
Publishing
Youth, essays, biographies,
novels...
64
And if this was
for you?
Casting, training course, call to
author...
AGENDA Art/Culture
AGENDA Multimedia
LES QUATRE CENTS COUPS, BAISERS VOLÉS
AGENDA Publishing
DOMICILE CONJUGAL, L’AMOUR EN FUITE...
L ’ E X P O S I T I O N 8.10.14 / 25.01.15
BILLET COUPE-FILE : CINEMATHEQUE.FR - FNAC.COM
© Signes de sens
Performing Arts
François Truffaut lors de la promotion de Baisers volés, 1968, Pierre Zucca
François
© Sylvie
Truffaut
Quesemand-Zucca.
lors de la promotion de Baisers volés, 1968, Pierre Zucca © Sylvie Quesemand-Zucca.
54
POLICE
GENDARMERIE
SAMU
SAPEURS
POMPIERS
Une urgence ?
ou
Envoyez un SMS au 114
URGENCE
Conception/création : groupe-curious.com / RÉF. : MAI13 - CM2014
114, numéro d’urgence
pour les personnes
avec des difficultés
à entendre ou à parler.
114, le numéro unique et gratuit
pour les sourds, malentendants, aphasiques, dysphasiques
pour contacter par SMS ou fax les services d’urgence :
SAMU (15), Police-Gendarmerie (17) et Sapeurs-Pompiers (18).
SI VOS PROCHES SONT
CONCERNÉS
INFORMEZ-LES
+ D’INFOS
www.urgence114.fr
Art’Pi! 9
Art’Pi! / WHAT'S NEW? / 9
p.3
IN BRIEF
STREET SIGNS
What is the difference between mime
and VV (Visual Vernacular/Virtual Vision)?
Rocco
Both hearing and Deaf people
are able to express themselves
through mime. However
VV is generally more often
used by Deaf people. VV is a
magnificent art that consists
in presenting rhythmic and
rhyming images, it enables the
telling of a story in a visual way
exclusively.
Ezio
When you tell a story in VV,
there’s an interaction between
the person who is telling the
story and the topic of the story:
object, animal or character. The
narrator performs a transfer
from the representation of the
object to an interpretation of
the object, unlike mime where
the object is solely represented.
WEBSERIES
Starting in November, Les
AAAHS, a webseries about
the world of the Deaf, and
that of the hearing. Funny,
zany and accessible to all,
this series is produced by
Melting Signes.
meltingsignes.fr
Vincenzio
Imagine a scene from a film: the
same situation is filmed from
different angles, and then the
shots are edited according to
the different rhythms. That’s
how VV works. On the other
hand, mime relies more on
physical expression, and does
not integrate the different view
points.
NORWAY
New performance by
Teater Manu! Directed
by Mira Zuckermann,
it brings together nine
international artists and
will be presented at the
Deaf Culture Festival from
November 7 to 9, 2014, in
Bergen.
www.bgds.no/kulturdager/eng
DE’VIA
Anne
Mime is just a means of
communication that allows
everyone, particularly people
who speak two different
languages, to use gestures
to communicate. While VV is
the art of creating, integrating
and expressing images and
drawings, in an iconic way and
with a poetic form.
Pascal
Mime enables us to symbolize
an object, a movement, and to
relate an event through body
movement in space. VV, which
is a more recent art form,
concentrates on the description
of forms using iconicity and by
integrating a role. But it has
nothing to do with LSF.
Guiseppe
Mime is only about staging a
physical action. You mime the
action of turning on a faucet,
holding a glass and filling
it. Whereas with VV, you’ll
illustrate the faucet using your
hands, and the water flowing
through the faucet, going down
the drain, the shape of the
glass, the water filling it…
COMIC STRIP
De'VIA (Deaf View/Image
Art) is celebrating its 25th
anniversary in October!
This movement gave rise
to a manifest about Deaf
cultural arts, created at the
Deaf Way arts festival in
Gallaudet.
www.deafart.org/
Deaf_Art_/
deaf_art_.
html
p.3
© Mona Le clou dans la planche
10 / OUR FAVORITES / Art’Pi!
OUR FAVORITES
LesanAmours
inutiles
astonishing bilingual concept
What is the magic formula that allows a theater play in Sign Language and French to
keep its panache, without being weighted down by the bilingual challenge it proposes?
With two languages on stage, the task is difficult, and can lead to frustration on one side
or the other, whether for a signer or hearing person.
To see Les Amours inutiles (Unnecessary
Loves), is to discover a new concept that
surprises, seduces and, especially, speaks
to the heart of the passionate, but often
frustrated, lover of theater that I am. The
play unfolds through four short stories by
Maupassant. After an oral version, and then
one in Sign Language, it was presented in
its bilingual form for the first time last April,
in Toulouse.
Six actors move about the stage. Each
character has his or her twin, speaking or
signing. The languages cross paths, reassemble, mix together. The pairs come
together and part within the same space.
No matter what the method of expression,
everyone takes a chance at the game of love!
The subterfuge is craftily led thanks to the
actors’ talents, and unusual directing choices.
Four short stories, and as many opportunities to diversify the types of dialogue
and spatial settings. A movable set,
synchronized movements, sensual dances,
interchanging couples, the surprises follow
Languages pass by
each other,
the couples
interchange
one after the other, each different from the
preceding ones. An unusual stage direction
that, far from creating confusion, unites the
spectators, both Deaf and hearing, around a
common understanding.
This diversity of styles gives a special
energy to the piece, and the actors play with
it, reacting to an ironic, tender or cruel line.
For an hour and a half, love is looked at in all
shapes and forms: love at first sight, deception, routine, jealousy… with, at times, the
glimmer of a welcome feminism!
.
When love exposes itself, and transposes
itself, on stage and with Signs, words and
music, it becomes a delightful cocktail of
emotions and sensations offered up to the
spectators, Deaf and hearing alike.
PAULINE STROESSER
p.3
Art’Pi! / OUR FAVORITES / 11
3 questions for Éric Vanelle,
director and actor
How did this project of a bilingual
play come about?
Why did you choose Maupassant
for this first bilingual creation?
For the last ten years, we’ve worked together with the association Act’s. We started
by translating the plays using Sign Language
interpreters. At the same time, more and
more of the Deaf became interested in
theater. In Toulouse, the number of Deaf
actors has gone up constantly. This has
convinced us to widen our outreach toward
this population. We wanted to achieve two
things: a play entirely performed in Sign
Language, and not based on the subject of
LSF (French Sign Language) or deafness,
and a play that was entirely bilingual, LSF/
French.
Maupassant is an author that I admire a
great deal. He is part of our patrimony and
his works should be known. In addition,
texts from classical theater are not always
accessible to the Deaf. We wanted to help a
large public discover this author.
p.3
Les Amours inutiles
Company MaMuse and Compagnie de
l'Inutile
Direction, Éric Vanelle
With Lucie Lataste, Martin Cros,
Delphine Saint Raymond, Corinne
Mariotto, Éric Vanelle and Lætitia Bos.
To find out the upcoming performance
dates, go to the site:
http://association-ecluse.blogspot.
fr/p/blog-page_10.html
© Mona Le clou dans la planche
Bilingual or accessible theater? The terms
often lead to confusion. The phrases
"accessible play" and "bilingual play"
are
used more and more in programming, at
times indiscriminately. The two concepts
are quite different however.
An accessible play is one that simply
translates the text with the help of a Sign
Language interpreter or Deaf translator,
who is often placed on one side of the
stage. Other possibilities might be a system
of surtitles, or yet again a creation that is
100% visual.
Whereas, a bilingual play integrates both
languages in its stage direction. Each line is
conveyed in its entirety by both means of
expression, which become complementary
elements of a common artistic approach.
In France, there are numerous theatrical laboratories seeking to create
bilingual plays. So many paths waiting to be
explored!
© Pablo Barbetti
Good to know
This is the first time you’ve
directed a bilingual play. Did this
involve certain limitations?
Sign Language is a limitation like any other,
and which offers even more possibilities. It
feeds the imagination both for the acting
and the stage direction. And in any case,
if there are no limitations, there’s no point
in creating. On the contrary, to have to
manage two languages, a visual one and an
oral one, opens up new perspectives for the
directing. The language even becomes a tool
for creating.
© J. Perrin Photographie
12 / BACKSTAGE / Art’Pi!
BACKSTAGE
...at the video-clip
of Clin d’Oeil 2015
At the end of April 2014, Maxim Fomitchev, Guiseppe Guiranna, Chantal Liennel and several
other international known artists were in Reims. The reason for their presence? The filming
of a video-clip to promote the next Clin d’Oeil festival, scheduled for the summer of 2015.
"Quiet! No more photographs, no more signing in the
background. Lights! Camera! Action!" Equipped
with our camera, we mingled discretely with
the crew. A film shoot masterly directed by
the festival director David de Keyzer and
the English film director Louis Neethling.
How moving to see Deaf professionals
from so many countries wandering
in and out of the offices of ASRCA*,
between the statues of the Abbé de
l’Épée and Émile Mercier! The adorable,
nine-year-old Lukas Pélissier won over
the entire crew with his ease and charm. This
budding actor first became known alongside Jean Reno,
in the film Avis de Mistral (Mistral Warning).
And as guest star, Jean-Marc
Barr, the charismatic actor
and French film director,
came accompanied by the
actress Dorothée de Silguy.
Together, they play the roles
of a hearing couple, and thus
demonstrate the will of the
Clin d’Oeil festival to be open
to all.
At the end of the shooting, champagne flowed freely.
A special opportunity to raise our glasses with our
colleague journalists from Écho Magazine and
L’Acclameur. For the first time, the three
media from the French Deaf press were
brought together. Clin d’Oeil succeeded
in its mission: to bring together
and celebrate.
Clin d’Oeil
succeeds in its
mission: to bring
together and
celebrate.
.
PAULINE STROESSER &
p.3
LAURÈNE LOCTIN
* Association des Sourds de Reims
et de Champagne-Ardenne (Deaf Association of
Reims and Champagne-Ardenne)
To watch the backstage
videos again, presented by
Laurène Loctin and Pauline
Stroesser, click on the QR
code or flash it.
To watch the
video-clip:
www.clin-doeil.eu
14 / ART TICKET / Art’Pi!
> Leonardo da Vinci’s
The Virgin of the Rocks (1483-1499) © RMN-Grand
Palais (Louvre museum) /
Franck Raux
ART TICKET
The Virgin of
the Rocks
Leonardo da Vinci is one of the most famous and admired artists in the world. Considered a
genius and ahead of his time, he took inspiration from the Deaf and Sign Language in his works
(see Art’Pi ! Hors-série n°1). One of his paintings, The Virgin of the Rocks, is filled with symbols,
and has a somewhat peculiar story.
This work was commissioned from
Leonardo da Vinci, and the two de Predis
brothers, in 1483, by the Brotherhood of the
Immaculate Conception, to be exhibited in a
chapel in Milan. Created between 1483 and
1486, and considered unfinished, it is kept
at the Louvre.
Leonardo da Vinci uses the technic of
sfumato, here, which he himself invented.
This consists of dissolving the lines and of
superimposing several layers of paint in
A meticulous
organization
of gaze and gesture.
The sponsors were not satisfied with the
painting’s composition, and the lack of religious symbols: neither the identity nor the
intentions of the characters were clearly
defined. As a consequence, a second version
was painted between 1495 and 1508. Today,
this second and more famous version is
kept at the National Gallery of London.
order to create a hazy artistic effect: the
outlines are softened, the shadows faded.
This subtle optic effect gives relief and
depth to the painting, a naturel air to the
faces and radiance to the landscape.
A stunning landscape
The secret of the hands
The scene represents the Virgin Mary
and baby Jesus who, fleeing to escape the
massacre of the Innocents, meet Saint John
the Baptist, accompanied by the archangel
Uriel. The fascinating background of caves
and rocks, water and plants, painted by
Leonardo da Vinci, replaces the desert that
is traditionally depicted.
The pyramidal structure of the painting is
very innovative. The Virgin, in the central
position, dominates the figures of Saint
John the Baptist, whom she seems to push
with her hand toward Jesus, in the foreground, and the archangel Uriel, who is
kneeling to the right, his eyes turned toward
the onlooker. This original composition
bears witness to a meticulous organization
of gesture and gaze.
If we focus on the positions of the figures’
hands, a stunning feature reveals itself. The
archangel, pointing its finger toward John
the Baptist, seems to be shaping the letters
L and D in fingerspelling. The baby Jesus,
in turn, is making a gesture of benediction
in which we can detect the letter V. These
three signs together represent the initials of
Leonardo da Vinci!
.
This work, in its time, received an immense
and immediate success. Let’s hope that
the discovery of this signature sparks a
similar enthusiasm throughout the Deaf
community.
ALEXIS DUSSAIX
p.3
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Art’Pi! / BEYOND BOUNDARIES: CANADA / 17
© Michael Mcguire
BEYOND BOUNDARIES: CANADA
When Canadian Deaf
art spreads
SPILL-PROpagation, a multidisciplinary collective of Deaf artists in Canada, hosted the
first Canadian Deaf Arts Forum this past May. The objective?For one week, to offer a
place for meetings, exchanges and reflections around the theme: "Phonocentrism: A
Deconstruction of Deaf Art Practices".
Behind this phrase, which appears complex,
hides a precise objective: deconstruct given
acquisitions, in order to better reconstruct,
recreate. "Society is based on the perspective that puts sound and words at the
center of human perception. As Deaf artists,
it is imperative to deconstruct this perspective in order to propose a new one, enriched
by our own world view," asserts the artist
Jolanta Lapiak*. She was able to share this
reflection with eleven other artists, coming
from four Canadian provinces.
While exploring the prejudices and unconscious ideas about the representation of
the spoken word in art, a reflection began
What is SPILL-PROpagation?
around the identification and construction
of a new artistic practice stemming from a
Deaf perspective. Different workshops took
place, and gave rise to a written manifesto,
a pact to develop a shared creative process.
Transforming
dominant culture
Taking its roots in the history and heritage
of the De’Via movement, the group aspired
to help emerge and create a new movement, under the name of "Phonocentrism
Deconstruction".
Created in 2009, the collective is made up today of about forty
Signing artists, from diverse disciplines (visual arts, theater, literature, poetry, cinema…), and coming from all different parts of
Canada. "To exchange, inform, share and produce art collectively.
SPILL-PROpagation helps artists assert themselves more fully,"
states Tiphaine Girault, co-founder of the organization.
For those who wish to know more, or join the movement, information can be found on http://spill-propagation.ca/
The manifesto calls upon artists from all
disciplines to make proposals aimed at
transforming dominant culture. Tiphaine
Girault and Paula Bath, co-directors and
founders of SPILL, are enthusiastic: "We
have a great need for such a gathering of
Deaf artists in Canada. It’s a dream coming
true! We hope, thanks to this manifesto,
that other meetings and other events will
follow."
.
JULIE CHATEAUVERT
& PAULINE STROESSER
* http://lapiak.com
Good to know
In Canada, four languages are used: French, English, Quebec Sign
Language (LSQ) and American Sign Language (ASL). Which is
why the collective’s name is both in English (SPILL) and in French
(PROpagation). In Sign Language, it’s the same poetic sign: two
fists that start at the heart and spread outward, hands open, like
waves.
p.3
18 / ON THE TRAIL OF / Art’Pi!
ON THE TRAIL OF
Gustave Nicolas
Hennequin (1834-1918)
If you pass in front of the Institut Saint-Jacques in Paris, continue walking a bit further to see
the sculptures of marine animals on the façade of the Institut Océanographique. They are the
work of Deaf sculptor, Nicolas Hennequin.
Born in Metz in 1834, Hennequin is one of
the artists that made a great contribution
to Deaf art during the Belle Époque. Unfortunately, information about him is rare. It
appears that between 1840 and 1855, he
and his brother studied at the Deaf-Mute
Institute, created by Joseph Piroux (today
called the Malgrange Deaf Institute), in
Nancy. One of the best students, he then
left the establishment in order to continue
his studies of art.
Hennequin was the student of Pierre Louis
Rouillard and Georges Jacquot, sculptors
that taught at the free Royal School of
Drawing and Mathematics, which is today
the École nationale supérieure des Arts
Décoratifs (National School of Decorative
Arts). It is therefore probable that this is
where Hennequin received his training
to become a sculptor. He may also have
spent some time at the Beaux-Arts in Paris
(School of Fine Arts), but there is no evidence
that allows us to know this for sure.
Between 1852 and 1914, he received numerous commissions from the State, assuring
him a confortable financial situation. As of
1869, Hennequin participated in the French
Art Shows in Paris. He thus paved the way
for young Deaf sculptors, such as Choppin
and Hamar, who took inspiration from his
work, and benefitted from his professional
network. These three sculptors became
friends, and together they participated
in the association, Amicale des Sourdsmuets de la Seine (The Seine Friends of the
Deaf-Mute).
His marriage to Jenny Geoffroy gave him a
place in one of the wealthy Parisian families, the Martin-Guersant family. He thus
became a cousin by marriage to the Deaf
sculptor Félix Martin. He had four hearing
children. His second daughter, Félicie,
married one of the most famous and
wealthy Deaf activists, Émile Mercier. His
son, Léon, was the architect for the Home
for the Deaf in Paris.
And yet, the works of this unjustly unknown
artist are available to all: one can contemplate the Trophy of Arms carved in high relief
on the Ney Barracks in Metz, or take a walk
in the Paul-Painlevé square across from the
Sorbonne in Paris to discover others!
YANN CANTIN
.
DRAWING BY Rudy
Mcloughlin
Bibliography FOLCHI Anna ;
ROSSETTI Roberto. Il colore
del silenzio. Electa, 2007.
p.3
Art’Pi! 19
Decorative sculptures on each side of the crown above the door, facade of the
Maison des Océans (Oceanographic Institute), Paris.
Art’Pi! / ON THE TRAIL OF / 19
Contribution to the Monument to Octave Gréard,
square Paul-Painlevé, Paris.
Art’Pi! / BUBBLES AND SIGNS / 21
Art’Pi! 21
< v Draft pages-extracts,
from Témoins silencieux, Vol. 2
© Art’Sign / Monica Companys
v Jean le Sourd's portrait
© Art’Sign / Monica Companys
BUBBLES AND SIGNS
Les témoins silencieux
a sequel to the comic book
In 2012, for the tricentennial of the Abbé de l’Épée, the association Art’Sign and the publisher
Monica Companys collaborated on the creation of the comic book Jean le Sourd (John the Deaf),
the first volume of the series Les témoins silencieux (Silent Witnesses). Today, this team is in the
process of concocting a sequel to that adventure.
In the first volume, the story took place in
the 1780s. We were introduced to Jean, a
young, deaf, apprentice cabinetmaker, who
was faced with the difficult reality imposed
upon him by his dual condition, that of a deaf
worker. At a time when the Deaf community was completely ignored, he had the
opportunity to meet leading figures such as
the Abbé de l’Épée and Pierre Desloges, who
contributed to the evolution of the Deaf in
French society. Jean was also a privileged
witness to the historical events that shook
France during the Ancien Régime.
Jean le Sourd,
a privileged witness
to History
We are delighted to announce that a sequel
is currently being prepared and should be
released very soon.
In this second volume, we meet up again
with Jean, in 1790, who has taken over the
business of his cabinetmaker master, and
who is awaiting the birth of his second child.
The historical context is still ever present
and turbulent: the Revolution is following
its course. And as for the future of the Abbé
de l'Épée’s school, it is quite uncertain.
Rather than disclosing the content of the
story, I’ll settle for underlining the delicious
mixture between fiction and reality. Born
of the imagination of these authors, Jean,
the silent witness to our past, guides us
through history. It was important for Yann,
Céline and Dano to transmit a just and
documented vision of the Deaf community
in the XVIIIth century. Archives of the Deaf
from that time being rare, it involved ongoing
work and long hours of research that bring
so much authenticity to this comic book. We
catch ourselves thinking that Jean actually
existed.
ELSA POTTIER
.
p.3
22 / THE SOUND OF SEEING / Art’Pi!
THE SOUND OF SEEING
Carmen
if the opera were signed…
© Marie Hyvernaud
The company Danse des Signes (Sign Dances), based in Toulouse, explores the relationship between
Sign Language, the body and rhythm. Their works go beyond the boundaries between the worlds of
Deaf and hearing, to turn the stage into a meeting place. The performance Carmen, adapted from the
famous opera, is music for the eyes that the actor-dancers have composed for us.
The company’s artistic adventure began
in Toulouse, in 2005, with workshops
organized with the association Act’s. Over
time, Lucie Lataste*, who is hearing and
bilingual, brought together a group of Deaf
actor-dancers. Since then, professionals
and amateurs have progressed side by
side. Today, they make up a steady group
whose works are consistently original. As
a laboratory in constant effervescence, the
secret of this alchemy lies surely within
the collaborative work conducted in Sign
Language.
Choreographing a classic
Carmen, opéra sauvage (Carmen, an
untamed opera) with no orchestra, is
inspired by the work of Georges Bizet,
composed in 1875, and one of the most
performed operas in the world. The story
takes place in Spain, in Seville. Carmen,
a gypsy with a fiery temper, is arrested
and put in prison. There, she seduces the
sergeant Don José, and promises to love
him if he helps her escape. This woman,
victim and predator, rebellious and modern,
deprived of her freedom, pulls us into a
whirlwind of devastating passion and love.
Voice meets
choreographic
and
rhythmic signs
For the first time, this famous gypsy
doesn’t seduce with her voice, but in Sign
Language. An opera singer and six sign
singers perform this daring work, an opera
with no orchestra and in signs. The singing,
accompanied by a drum, taped music and
surtitles, is joined by the choreographic and
rhythmic signs that are the hallmark of the
company, Dance des Signes.
A unique alchemy
Sign dance, the stage language developed
by the company of that name (Danse des
Signes), brings dance and Sign Language
together using their common means of
expression, the body and movement. It thus
breathes new energy into Carmen by a very
free appropriation of operatic codes. This
appropriation is first achieved by synthesizing the story and it’s characters. From
the adaptation of Bizet’s opera in four acts,
which originally lasts nearly three hours, a
performance of approximately one hour is
created. If some of the subtleties disappear,
the play doesn’t strive to follow the original
one identically. It remains a creation.
This untamed opera, as its name suggests,
strays in part, therefore, from the work
that provides it’s inspiration. However, it
preserves the "color", the universe and the
imagination. The actor-dancers worked
around the themes of bullfighting and
flamenco, immersing themselves with
Art’Pi! 23
readings, videos, and workshops. In this
respect, the duel between the bull and the
matador is astounding. This solo, by Martin
Cros, uses the creative qualities of Sign
Language to the fullest. Some spectators
may see the link with VV, linguists will see a
virtuosic combination of "transfers". Martin
Cros manages to sublimate this struggle,
whose outcome is unknown, and to incarnate both the bull and its executioner, while
death continues to hesitate to choose sides.
Underneath the phrasing there
is grace
This moment also highlights the contrast
between the chorus and the soloist, which
we find in the traditional operatic form:
voices or signs in unison are carried by the
chorus’ multitude, while our attention turns
toward the soloist’s performance. Whether
it’s the solo score or the refrain being
repeated by the chorus in different musical
styles, the resulting tension is common in
vocal-language singing; until now, though,
it had not often been used in performances
that included sign singing.
For the company Danse des Signes,
between singing and singing dialogues,
the work of adapting into Sign Language
is a continuation of the experimentation
involved with their first play, Les Survivants
(The Survivors): majestic signs, slow and
elongated, ready to be dissolved into the
bodies’ movements, but also rhythmic, at
times repeated, phrases.
Sign dance, a
stage language
of body and
movement
Art’Pi! / THE SOUND OF SEEING / 23
capable of moving the audience. This
performance resonates like an invitation:
to discover or rediscover famous works
through a new and vibrant outlook, and to
see Sign Language as a vehicle for musicality, by its encounter with dance and
rhythm. The daring wager of the company
Danse des Signes to adapt classical works is
a success. Let’s wish a similar fate for their
new work in preparation, Hiroshima, mon
amour** (Hiroshima My Love).
.
PIERRE SCHMITT
* Read an interview with Lucie Lataste in the
first issue of the magazine L'Acclameur.
** To be performed in Toulouse, Espace Roguet,
January 24, 2015, and in the city of Castanet
January 31, 2015.
p.3
A musicality of Sign Language emerges
from these variations in tempo that is
© Marie Hyvernaud
24 / THE FABULOUS FATE OF MAXIM FOMITCHEV / Art’Pi!
THE FABULOUS FATE OF...
Maxim
Fomitchev
Clown artist, mime and physical actor
"When I discovered mime,
it was like an electric
shock: for the first time I
understood eveyrthing!"
Max-I-Mime or Maxim? Two
personalities sharing the same
body. Max-I-Mime, his stage
name, Maxim, his given name.
While one is outgoing, playful,
the other is more discreet and
reserved. Spotlight on Maxim
Fomitchev, quite simply an
exceptional man.
Art’Pi! 25
"As a physical
actor, I express
myself solely with
the movement
of the body
and facial
expressions."
Art’Pi! / SOMMAIRE / 25
26 / THE FABULOUS FATE OF MAXIM FOMITCHEV / Art’Pi!
You present yourself as both clown artist and mime
artist. What is the difference between the art of being a
clown and that of mime?
As a clown, you have more interaction with the audience.
You have to know how to react
to the laughter, to the spectator’s emotions. And then, you
concentrate more on developing
the physical and psychological
details of a character: his personality, his expressions, his way
of walking. But you can’t be
schematic in the same way, illustrating a symbol, on
object, like you can in mime.
three and a half years with the Cirque du Soleil?
I encountered Storm for the first time in 2000, when
I went to see the piece Alegría in Vancouver, out of
curiosity. I was immediately taken by this character,
and this is what inspired me to
become a clown. Slava Polunin,
a famous clown, had created
the character Storm in 1994,
for the creation of the play
with director Franco Dragone.
The story talks about solitude
and love. When I was chosen
to take over the role, I couldn’t believe it! Even though I
had plenty of experience as an actor and a mime, I had to
immerse myself in the role of Storm and learn to do the
make-up on my own. The advantage of doing the same
role for a long time is that you can progress, perfect your
performance. I played the role until the show ended, in
December 2013.
"Sign language has helped
me make progress in theater
and mime."
You also call yourself a "physical actor"? What does that
expression mean to you?
It means that I express myself solely with the movement of the body, and facial expressions. For example,
I recently played several roles in a film, Night at the
museum 3: an animal, a Greek god and a mummy. The
goal was to perform the movements and expressions
of these characters in front of the camera. Then these
images were transformed into 3D animation. For me,
who loves the cinema, it was very interesting to be part
of such a big film shoot!
How did your encounter with Storm come about, the
character from the show Alegría that you played for
Before becoming a clown, you first worked as a mime.
How did this vocation come to be?
I grew up in Moscow. As a child I watched television,
of course, which at the time had no subtitles. Even if I
understood nothing, I was mesmerized by the funny
faces and actions of the actors, which I loved to imitate.
One evening, I stumbled upon a famous mime artist,
Anatoly Elizarov. It was like an electric shock for me: for
the first time I understood everything! From then on, I
Art’Pi! / THE FABULOUS FATE OF MAXIM FOMITCHEV / 27
Since the beginning of his tour with Alegría,
Maxim has established a ritual in each city that
he visits: jump! Even if the performances have
ended, the photo series continues…
spent my time imitating, in front of my mother. So she
looked for classes where I could progress.
You grew up during the Communist period. Was artistic
training widespread? Was it encouraged?
It’s true that during that time, training in the arts and
in sports was strongly encouraged. My first classes
took place in a communist center for children, a Palace
for Young Pioneers, alongside hearing people. After
one year, I had learned so quickly that I had to change
my place of training. At 13 years old, I was admitted to
university, in a mime class given for professionals and
amateurs. I was by far the youngest! I spent three years
learning all the fundamental techniques of movement:
how to move, how to control the different parts of the
body independently, different techniques for walking,
etc.
Throughout this training, you never exchanged or
created with other Deaf artists?
To be honest, I grew up neither meeting the Deaf, nor
practicing Sign Language. As an adolescent, I changed
direction, and went looking for the Deaf, having heard of
a theater group. I learned Sign Language in one or two
months! This also helped me to make progress in the
theater and in mime. I could improve my expressions,
my techniques for humor. The other Deaf taught me
Sign Language, and I taught them mime techniques. I
stayed three years there.
28 / SOMMAIRE / Art’Pi!
"Being a clown means creating
a character: his personality, his
expressions, his way of walking."
Art’Pi! / THE FABULOUS FATE OF MAXIM FOMITCHEV / 29
After six years of training, you were then ready to head
out professionally!
Not yet! At that time, I learned that a theater school was
opening at the university, with a group of Deaf actors.
Becoming part of that group was a big change for me.
It required a great deal of effort on my part, since the
way of working, and techniques of expression, were very
different from what I was used to! Whereas in mime, I
exaggerated everything, here I had to make my acting
smaller. It wasn’t easy, and created a certain amount
of conflict. I felt like I was starting all over again, like a
beginner. But I stuck with it, and by the end of five years,
I was considered a professional actor.
Since 1998, you have been a Canadian citizen. How did
you end up on the North American continent?
When I finished the theater school in 1989, together
with my troupe I went to Deaf Way I, the first international conference on Deaf culture, which took place in
the United States. It was a shock for me, a revelation! It
was at this precise moment that I truly felt, for the first
time, a feeling of Deaf pride, of belonging to a culture, a
community.
And of course… this gave me a taste for the American
dream, and European as well. At the time, in Russia, it
was the beginning of the end of Communism, but we
weren’t yet completely free. There were certain limits
on artists and creative people like me. In 1992, I went
to Vancouver for a theater festival with the Deaf troupe
from Russia, and I decided to stay. I obtained Canadian
citizenship and have lived there ever since. I’ve returned
to Russia occasionally, but since then my life is in
Canada.
What are your upcoming projects?
Having been on tour non-stop for the last three and a
half years, I haven’t seen my children grow up. Today, I
am taking advantage of this time to be with them. But
I dream of being able to perform again with the Cirque
du Soleil. For the moment, I’m waiting for them to call.
But I don’t lose hope. In any case, I know that I can’t do
any other profession. Cook, cabinetmaker…? Impossible
for me. My profession is the theater, my soul belongs to
the stage. I am currently preparing a new clown performance. Alone or as a duet? I’m thinking about it, and
hope to be able to present it at the Clin d’Oeil festival
in 2015.
Do you have a last word for readers and Deaf artists?
No matter what setbacks or pitfalls you encounter,
always keep a positive attitude. Keep moving forward
and believe in yourself. Have an open mind: a world
shared by Deaf and hearing is possible. But first, believe
in your own identity, your culture and your language.
And then make your own way.
.
INTERVIEW BY
PAULINE STROESSER
PHOTOS MARION FREGEAC
p.3
Max-I-Mime in 7 dates
1964
I was born!
1976
My first steps in mime at the
palace of young pioneers in
Moscow.
1984
I enter the Schukin Theatre
School to study the dramatic
arts.
1989
First trip to the United
States to attend Deaf Way
I at Gallaudet University in
Washington, DC. A revelation.
1998
I become a Canadian citizen!
2002
Deaf Way II: I return as Master
of Ceremonies, an honor and
intense emotion for me.
2010
I become a clown with the
Cirque du Soleil for the play
Alegría: a dream comes true.
30 / At a glance / Art’Pi!
At a glance
Malaussena,
a timeless sculptor
> Combat, 1964, plaster,
140 x 120 x 80 cm.
With this work, he was close to
winning the Rome prize (which
gives young artists the opportunity
to study in Italy), but a jury refused
his name because of his deafness.
Art’Pi! / At a glance / 31
> Pont sacré à Nara, Japon
(Sacred bridge of Nara, Japan),
2010, resin/wood,
55 x 95 x 50 cm.
"I never look at my past, or my future, I only live in the present", JeanPierre Malaussena confides to us. And yet, we wander throughout
his studio as if travelling through time, meandering among statue
pedestals, accompanied by the odor of glue. Women, landscapes in
wood and resin, geometrical sculptures, his eclectic works are carefully organized according to periods.
His sources of inspiration spring up during a walk, a journey, or in
connection with the objects he finds in his path. "To philosophize
about my work is useless, other than just to analyze the technique.
For my part, I photograph images in my head, and then I return to
my studio to make works with my heart."
His first artistic love at first sight took place with African and
Egyptian sculptures, which he discovered as an adolescent at the
Louvre museum, and which would determine his style. Up until a
decisive trip to Japan, in 1994. Ever since, his works are resplendent
with Japanese colors and landscapes. Umbrellas, temple doors and
Japanese bridges accompany his sculptures of women, whose hips
are narrower than in his earlier works.
World-renowned in the art world, he has won many prizes, including the Gold medal for Arts, Sciences and Letters, and has produced
eighteen monumental works, commissioned by the State, between
1979 and 2011. Today, his passion doesn’t diminish. "I will paint and
sculpt until the end of my days, like Auguste Renoir", he proudly
confides.
Jean-Pierre Malaussena (born, 1935)
.
LAURÈNE LOCTIN & PAULINE STROESSER
Photos Richard Zampolini
p.3
32 / At a glance / Art’Pi!
Art’Pi! / At a glance / 33
< Passage à la pluie,
(Passage in the Rain),
2010, resin/wood,
45 x 70 x 25 cm.
First work after his return
from Japan.
34 / CAMERA, ACTION! / Art’Pi!
CAMERA, ACTION!
The Tribe
the film that revolutionized cinema
© Valentyn Vasyanovych
Release an over two-hour film, entirely in Sign Language, with neither voice nor subtitles,
on the big-screen: mission impossible? Myroslav Slaboshpytskiy, a Ukrainian film director,
dared to do it. And it worked. A marketing trick? Cinematic research and innovation?
Art'Pi ! investigates.
"Bizarre, disturbing... Brilliant", "A cinematic
feat", "A breathtaking and incredible ballet",
"An absolute shock for the senses", there
were numerous reactions in the international press last June, after the screening
of The Tribe at the Cannes Film Festival.
The film won three prizes during the Critic’s
Week, including Grand Prize.
An idea from the past
The Tribe refers to a group of Deaf youths in
an isolated boarding school in the Ukraine.
These adolescents survive by reproducing
what resembles a silent mafia. Sergei, the
most recent to arrive, must make a place
for himself in the group and endure the
rites of passage. In the process, he discovers
violence, trafficking and prostitution, and falls
in love with Anna, an adolescent who prostitutes herself to try and flee the country.
With this film, Myroslav Slaboshpytskiy has
made a double hit: to bring to the screen
an entire crew of Deaf actors, and to film a
large section of society that is still too often
taboo. Stalinka, a working-class suburb of
Kiev with atypical architecture, and home of
the director, was used for the set.
No spoken word,
only emotions and
signs. Cinema for
cinema’s sake.
The filming took place in 2013, in a particularly unstable political context. "We began
shooting under the Yanukovych regime,
then continued during Maidan*, and the
last frame was filmed when Russia invaded
Crimea", says Myroslav with irony. But that
didn’t stop him from seeing this project,
which he’d been thinking about for a long
time, through to the end.
Already as a child, Myroslav was in contact
with the Deaf: a school for the Deaf was just
next to his. There were frequent encounters,
and often fights, among the young. Fascinated by Sign Language, he dreamt early on
of making a "silent film". "Since already as a
child I knew I wanted to become a director,
you could say that the idea was born at that
time", he explained.
Nonconformist and innovator
Myroslav is no novice. Deafness **, a
short film that came out in 2010, takes
its inspiration from the same idea.
Confident from the success encountered
by this short film (it was nominated at the
Berlinale Festival, and has received several
international prizes), he set out to create a
full-length film, The Tribe, which is in effect
the continuation of his research for the
"pantomime film", as he himself likes to call
it.
"This project is an ambitious task, a challenge. I didn’t want to make just a film
Art’Pi! 35
Art’Pi! / CAMERA, ACTION! / 35
in Sign Language, he insists. I wanted to
make a film with Deaf actors whom one
could understand without translation. Only
emotions and gestures. No spoken word,
only the sound of the natural environment.
It’s a very nonconformist idea, a thing in
itself. Cinema for cinema’s sake."
All the actors in The Tribe are amateurs,
which only reinforced the dynamics during
filming, according to Yana. "We rehearsed
quite a lot. Of course the work was difficult,
we aren’t professional actors. But we felt
ourselves to be serving Cinema. All together,
through to the end."
aren’t silent—they speak quite a bit, but
in Sign Language. The audience accepts
these rules, they hang onto the images with
heightened attention. And the action, the
emotion in the characters, and the dynamics of the plot, don’t let them relax and get
bored. We achieve total immersion."
All together, through to the end
The scenes with sex and violence weren’t
easy, as is the case for any young, beginning
actress. "The abortion scene was particularly difficult, because I didn’t know what to
do, how to move, to be accurate. We sought
advice from a doctor, who showed us the
proper gestures."
Dogville, by Lars Von Trier, one of his favorite films, inspired him a great deal: "The
director got rid of the scenery, but after five
minutes, a real miracle occurs: we forget its
absence. I had similar goals."
In preparation for filming, nearly three
hundred young people, between the ages of
19 and 23, passed the audition. The crew got
help in its search from the Cultural Center of
the Ukrainian Deaf People’s Society, in Kiev.
However, finding the actress who would
play Anna, Yana Novikova, happened almost
by accident. Having moved to Kiev to try her
luck in theater, Yana was auditioning for
another project, where Myroslav had come
to scout. It was love at first sight for the
director: the presence and intense involvement of the "Byelorussian Audrey Hepburn"
won him over. For Yana, it was a dream
come true.
On the director’s advice, Yana watched
many films in preparation for the role, from
The Last Tango in Paris to Antichrist. But
the one that seems to have helped her
the most was La vie d'Adèle (Blue is the
Warmest Color), by Abdellatif Kechiche, with
Adele Ekzarkopulos.
This scene is no doubt the most poignant
in the film, and the one that drew the most
reactions. Filmed from a fixed point, it lasts
more than ten minutes.
Inventing codes
for a new cinema
The style of framing gives dimension to the
film: wide, static shots that emphasize the
dramatic atmosphere and offer an overall
view of the dialogues in Sign Language.
With The Tribe, Slaboshpytskiy invents a
new code for cinema by establishing his
own rules. "I took away the basic component
of film, verbal speech. But the characters
By daring to use an unprecedented concept,
Myroslav Slaboshpytskiy is following in
the footsteps of his mentor, Lars Von
Trier, considered one of the most innovative directors of European cinema. To
discover this exceptional film, go quickly
to see The Tribe, currently playing in movie
theaters.
.
PAULINE STROESSER
p.3
*Independence Square in Kiev, where protest
movements were violently repressed but nevertheless brought about the fall of the president
and the establishment of a new government.
**https://www.youtube.com/
watch?v=PZ08TZOhYWo
© Valentyn Vasyanovych
36 / SPECIAL REPORT / Art’Pi!
SPECIAL
D ea
blin
sensiti
CONTENTS
38
Marie Heurtin, idyllic filming
42
Nalaga'at, an out of the ordinary theater company
44
Annie Sullivan & Helen Keller, illustration of a rebirth
46
Art: please don't touch
Art’Pi! / SPECIAL REPORT / 37
REPORT
af nd:
ive art
Films, books and comic books, in which they are the heroes, theater
plays in which they perform throughout the world… There’s no
doubt, the deaf-blind have people talking about them. Forget your
preconceived ideas, the art world has no limits. Art’Pi ! offers you
an immersion into the heart of darkness and silence, to a universe
where art is intuitive and sensitive.
38 / SPECIAL REPORT / Art’Pi!
marie
heurtin
MARIE HEURTIN
idyllic filming
tournage idyllique
For an extraordinary character, an extraordinary film shoot: Marie Heurtin is one of
these. The story of the education of a young deaf-blind girl, at the end of the XIXth
century, and of a teacher’s determination, this film and its shooting are also a model for a
commitment to accessibility. A look at a unique human experience.
Title: Marie Heurtin
Released: November
12, 2014
Director: Jean-Pierre
Améris
Production/
Distribution: Escazal
Films & Diaphana
Principal Actors:
Isabelle Carré, Ariana
Rivoire
Synopsis: Born deaf and blind in 1885, Marie
Heurtin is unable to communicate. At the age
of 10, she is admitted to Larnay’s religious institution, near Poitiers, where young deaf girls
are being taken care of. One young nun, Sister
Marguerite, decides to do everything she can to
help Marie out of her darkness. Despite some
failures and feelings of despondency, she will
succeed thanks to her joyful faith and her love.
http://culturebox.francetvinfo.fr/cinema/
tournages/isabelle-carre-decouvre-la-languedes-signes-pour-marie-heurtin-141441
A story of
giving
The film Marie Heurtin is built around the idea of passing
on. It tells of a Sister’s efforts, day after day, to educate a
young deaf-blind girl, who is completely closed up in her
own world. By teaching her Sign Language, by allowing
her to feel it with her fingers, the teacher establishes
communication with her, and opens her up to the world.
An adult who gives a child the whole world, in the palm
of her hand: it is the archetype of human transmission
that defines education.
This passing on is also historical. Everyone knows Helen
Keller, but no one knows Marie Heurtin, even in the Deaf
world. And yet, they were contemporaries: Helen Keller
was born in 1910, Marie Heurtin in 1885. And while the
first was American, the second was… French.
According to Sandrine Schwartz, the Tactile Sign
Language coach for the shooting, and French/LSF
(French Sign Language) interpreter, Marie’s journey was
Art’Pi! 39
just as remarkable as Helen Keller’s. These two women
received different educations, but they ended with the
same result: access to knowledge.
Marie’s unusual education is a lovely story, brought
back from oblivion in the film by Jean-Pierre Améris, a
director attentive to the accuracy of his characters, and
the actors’ performances.
So many challenges
to face
Marie Heurtin is a story about overcoming obstacles, of
surpassing oneself, of faith that everyone can succeed,
as emphasized by Jean-Pierre Améris and Isabelle Carré,
one of the principal actresses of the film. The actual
filming itself was faced with numerous challenges.
To begin with, the choice of actress to play Marie
Heurtin. At first, Jean-Pierre Améris wanted her to be
deaf-blind. But he had to abandon that idea because
Art’Pi! / SPECIAL REPORT / 39
of the difficulties that that would have caused. In order
to perfectly orient oneself in one’s environment, a deafblind person has a crucial need for the objects around
him to be stable. But on a film set, everything moves and
changes constantly.
"The actress will be Deaf, then". It was imperative for
the director, since the character expresses herself in
Sign Language. A yearlong national casting followed, at
the end of which he met Ariana Rivoire, from the INJS
in Chambéry. The choice was immediately obvious: "She
had what we were looking for. She was going be Marie
Heurtin because she had in her that strength, feeling,
energy."
The next challenge was to arrive at a full communication
between Deaf and hearing people on the set. Since there
were many Deaf actresses, it made sense to call in interpreters. Hired locally from the Lyon area, six professional
interpreters, in addition to Sandrine Schwartz, took turns
throughout the seven weeks of filming. "They were an
integral part of the crew", insisted the director.
"Marie gives a very positive,
optimistic image of the deaf-blind.
She shows that
they are capable of doing things
just like other people."
Ariana Rivoire
Ariane Rivoire
Marie Heurtin
© Michael Crotto
40 / SPECIAL REPORT / Art’Pi!
"LSF was extremely
moving for me,
I found it very beautiful.
I miss it now!"
Isabelle Carré
Isabelle Carré
Accessibility:
a social concern
Another challenge was to overcome the apprehensions
of those involved in financing and distributing the film.
The producers, Sophie Révil and Denis Carot, very open to
things outside of the norm, didn’t hesitate to invest from
the beginning. However, the subject made the film difficult to finance. Jean-Pierre Améris admits that the story
of a young deaf-blind person could scare away investors.
He had to work hard to convince the television stations
that the story of Marie Heurtin could be of interest to a
large public.
The producers persisted, until they met with Diaphana,
who joined in on the financing. The film nevertheless
was made with a modest budget. By choice—the
director wished to make a film as closely as possible to
its characters—and by necessity. In virtue of which, the
entire crew accepted a lower salary. Proof that this film
is the result of a genuine collective effort.
The last challenge was the accessibility of the film for
a Deaf public. For Jean-Pierre Améris, this was truly a
Sœur Marguerite
social concern: it was imperative that the Deaf and/or
blind have access to the film, particularly because it deals
with their history, their world. Without which, this project
would be nothing more than a "shot in the dark". Fortunately, the film will be subtitled, thanks to Diaphana, and
with the participation of Sandrine Schwartz and CinéST.
A "body to body"
communication
In the end, Marie Heurtin is above all the story of
a different form of communication, of Tactile Sign
Language. For Jean-Pierre Améris, this is an essential
element of the film, leading the actors to play differently,
by "engaging their bodies entirely".
In order to show on the screen the level of expertise that
Sister Marguerite had in Sign Language, Isabelle Carré
learned LSF, through intensive training over four months
with a personal coach, Alexeï Coica. She then worked on
Tactile Sign Language with Sandrine Schwartz during the
filming, and admits that this is the role that has required
the most preparation for her.
Art’Pi! / SPECIAL REPORT / 41
"This means of communication,
which I call 'the hand and the
world', is a wonderful
cinematic motif."
Jean-Pierre Améris
Isabelle Carré thus discovered "a communication from
body to body, heart to heart." The actress discovered a
passion for LSF, which was less an aspect of her acting
than a genuine means of expression. She made it
completely her own, so much so that she could conduct
entire conversations with Deaf actresses, and with no
interpreter.
Ariana Rivoire, however, though accustomed to LSF, had
to learn the specific reflexes used in deaf-blind communication: touching the other person’s hand, keeping
contact with him in order to call him, making slight vibrations on his hand to show that one is listening…
She also had to restrain herself, by acting with an expressionless, neutral, face: a real challenge for her, since she
is particularly expressive. Indeed, the face of deaf-blind
people is often without expression, since they aren’t
aware of the visual indications they might convey.
The meeting
of two worlds
The crew participated as well. Technicians, actors,
make-up artists, cooks… all learned some elements
of LSF, first from an initiation by the interpreters,
then from interacting on a daily basis with the Deaf
actresses. Also, sheets with signs and the fingerspelling
alphabet were handed out by Sandrine, which offered
points of reference.
Nils Hamelin, the director’s first assistant, then had the
excellent idea to add a few signs, together with their
meaning, to the work sheet that the crew received
every morning. A lovely proposition, that only proves
to what extent the crew’s attitude was welcoming, and
the atmosphere incredible. The Deaf and hearing worlds
mixed together very easily. "It was much simpler than
one would have imagined", observed Isabelle Carré..
By way of Marie Heurtin, a whole world opens up to
us. A new outlook on deaf-blindness awaits filmgoers.
But also another idea about the Deaf, as professional
actors, as speakers of another language, as members of
the audience. An idyllic exception, or the beginning of a
welcome evolution?
CÉCILE TUARZE
PHOTOS MICHAEL CROTTO & DIAPHANA
ILLUSTRATIONS ALEX SAMBE
p.3
© Michael Crotto
CinéST
CinéST is a website created by Emmanuelle
Aboaf and Bénédicte Nguyen in October, 2010,
that indexes the screenings of French films with
subtitles, in movie theaters throughout France.
It also raises awareness among distributors and
cinema managers about subtitles. Its goal is to
make French culture accessible for all.
CinéST participated in the finalization of the
subtitles for Marie Heurtin, and joined Diaphana,
IVT and Art'Pi ! to provide publicity for the film.
www.cinest.fr
42 / SPECIAL REPORT / Art’Pi!
Nalaga'at
Nalaga'at
an out of the ordinary
une compagnie thtrale
theater company
hors du commun
Nalaga'at means "Please touch" in Hebrew. It’s the name chosen by an Israeli theater
company, the only one in the world whose actors are all deaf-blind. Riding on its
success, the troupe now has its own "home": the Nalaga'at Center. A meeting place
for the Deaf, blind and deaf-blind, but also for the general public, by way of a cultural
and artistic experience that is out of the ordinary.
An experience unique
in the world
Adina Tal is a theater director, originally from Switzerland, who studied in Israel during the 1970s. After
working with different companies, she created, in
1984, a company that specialized in interactive theater, with a strong sense of social
commitment. The idea was to treat
serious problems (violence, ageing,
Jewish identity…) with humor.
interacted one on one, through interpreters using Tactile
Sign Language. The objective was two-fold: to transform these individuals into actors, but also to create a
coherent troupe that worked well together. The second
challenge was to move on to another level of communication, that with the audience.
A total success: Light is Heard in Zig Zag,
a performance both light and serious,
unclassifiable in its form as well as its
content, was presented in several theaters, in Israel as well as internationally,
through 2005. Adina Tal and Eran Gur,
convinced that the group deserved to
perform in the most professional conditions possible, cofounded the association
Nalaga'at and sought a permanent space to perpetuate the experience and continue their activities. The
Nalaga'at Center was inaugurated in 2007, opening
with the première of Not by Bread Alone with which the
company continues to tour throughout the world.
"It’s the
right time
to continue
to dream"
In 1999, an association for the deafblind came to her, asking her to create
a theater workshop for its members.
Twelve deaf-blind individuals participated
in the workshop, which led to a performance
based on their stories and personal dreams. That
experience being a first wordwide, Adina Tal had no
model for inspiration, and had to start from scratch.
The first challenge, she explains, was to find ways of
communicating within the group, whose members only
Art’Pi! / SPECIAL REPORT / 43
Art’Pi! 43
All nationalities,
religions, genders
to develop similar workshops elsewhere in Israel and
throughout the world.
In addition to the theater, the Center houses the Café
Kapish (where the waiters, Deaf and hard of hearing,
encourage communication beyond oral language), and
the restaurant BlackOut (where patrons dine
in darkness, served by blind waiters). It is
also a place for the Deaf and the blind
to train to become waiters. Based on
the principle that "all human beings
are equal but different and that
each person has the right to add
his or her personal contribution
to society", the Center employs
people of all nationalities, religions
and genders.
Adina stresses the revolutionary aspect of what was,
in the beginning, a simple theater class: the actors who
had until then been in a situation of dependency, a position of receiving (help, pity) found themselves in a
position to give, offering to others a performance, and art. "We believe we need, can
and deserve to change and improve our
reality”, one can read on the Center’s
internet site. And indeed, the Center
provides a unique environment
offering support for Deaf, blind and
deaf-blind people in their desire to
develop their own talents and skills.
Other initiatives connected to theater
have been developed: the waiterapprentices created, in 2009, "Give Me a
Sign!", a theater workshop built around Sign
Language. The same year another troupe was formed,
made up of Jews, Muslims and Samaritans, either Deaf
or blind. In 2010 the play Prince Rooster was created, a
show for children in which some of the waiters perform;
also that year, a clay sculpture workshop was started,
which takes place in darkness. In 2011, rehearsals began
for The Banquet, a new play performed by blind, Deaf
and deaf-blind actors. In order to share the values that
have been developed by the Center, all efforts are used
To this day, the company has had more
than 600 000 spectators throughout the
world. "It’s the right time to continue to
dream", says one of the characters in Not by
Bread Alone. A beautiful phrase that encourages us
to believe in ourselves and in the possibility of a better
world for all, where each individual has a place!
ELSA POTTIER
www.nalagaat.org.il/
theater.php
p.3
44 / SPECIAL REPORT / Art’Pi!
Annie
Sullivan
Annie
Sullivan
& &Helen
Keller
Helen Keller
illustration of a rebirth
illustration
d'une
renaissance
If you’ve ever run into Helen Keller in your life, as a reader or audience member, her
story no doubt left a deep impression on you. The remarkable comic book by Joseph
Lambert tells the story of when this little, deaf-blind girl met Annie Sullivan, the
private tutor who introduced Helen to the world, and about whom we know less. Their
friendship, as well as their individual lives, inspires emotion and admiration.
Perceptions
that can be drawn…
Talking first about form: one may like or dislike the
drawing itself, but the choice of artistic medium is
nevertheless very judicious. Indeed, one of the major
strong points of this comic book concerns the graphic
choices used to visually transcribe Helen’s perceptions.
We begin the story immersed in Helen’s world, through
the use of a black background, simple shapes and a
minimalist décor: the feeling of confinement is palpable.
The famous story about the water pump–the instant
when Helen comes to the understanding that for each
object that surrounds her there is a corresponding
word–is brilliantly rendered. Each time she learns how
to name an object, it appears in the drawing. The world
around her takes shape little by little, for her as well as
the reader. The drawings become graphically richer in
their shapes and colors as the little girl makes progress.
This ingenious procedure leaves plenty of room for
emotion, and allows us to share the two protagonists’
enthusiasm.
The story of
an education
© Çà et Là/Cambourakis
As far as the content, we are easily immersed in the
story, and hooked till the very end! One can only applaud
the fact that Helen’s initial confinement is not described
as a logical consequence of her deaf-blindness, but as
stemming from the inability of those around her to find
a way to enter into communication with her. It’s the lack
of connection with others that makes her a "little wild
child", not the fact that she’s blind and deaf.
In addition, it’s interesting to note that the original title,
Annie Sullivan and the trials of Helen Keller, places the
teacher in the role of the main character in the story. We
aren’t introduced to the woman that Helen will become,
but we are told of the child that Annie once was. Her
journey is also worth knowing about, and while it may
be less spectacular than that of Helen, it illustrates just
as well the importance of perseverance, and the magic
in special encounters. Both women (and thanks to each
Art’Pi! / SPECIAL REPORT / 45
© Çà et Là/Cambourakis
Art’Pi! 45
From
blackness to
color, a world
takes shape.
other) succeed in transcending a deep solitude and selfdestructive anger, and taking hold of their destiny. By
transforming their way of contemplating the world,
they participate in changing it, and making it a better
place. Exhilarating!
For those of you whose curiosity is aroused by this
book, I suggest discovering the rest of Helen Keller’s life:
an extraordinary woman, the first deaf-blind person to
receive a diploma, a militant feminist, and the creator of
a foundation against malnutrition!
ELSA POTTIER
p.3
Annie Sullivan & Helen Keller
Joseph Lambert
Original title: Annie Sullivan and the
trials of Helen Keller (United States)
Translated from the English by
Sidonie van Den Dries
Co-edited Çà et Là/Cambourakis
Format: 20 x 30 cm, bound
96 pages color
Helen Keller, who became deaf-blind at the
age of 18 months, used fingerspelling, whereas
Marie Heurtin, deaf-blind from birth, used signs.
Annie Sullivan taught Helen what she herself
had learned at the Perkins School for the Blind,
from Laura Bridgman, the first deaf-blind person
known in the United States to have received a
higher education. Coming from a blind environment, Annie didn’t seek to learn Sign Language.
On the contrary, Marie, having grown up in
France in a school for young deaf girls, used
Tactile Sign Language.
46 / SPECIAL REPORT / Art’Pi!
Art
ART
please
don’t
priere de ne
touch
pas toucher
Art appeals to all our senses. So then how do we perceive it without the senses of
hearing or eyesight? Can we even be sensitive to it? Nicole Troyano, Deaf and with
Usher syndrome, and Naji Hellal, deaf-blind, share their feelings and impressions.
NAJI
I am deaf-blind. Therefore, I have
three senses at my disposition
(touch, taste, smell). These are
more developed than usual. I’ve
also acquired a sixth sense, a
"sensation" or "intuition" that
rarely fails me.
I like to "see" performances with
someone’s help; I can get a good
sense of the acting when it is
explained to me. And when it’s
possible to touch a work of art,
I can at times understand the
artist’s intentions.
NICOLE
I’ve already felt the
wings of an angel,
at the tactile gallery
at the Louvre. All
the explanations are
in Braille. And the
white sculptures, very
luminous, are presented
in front of a dark wall,
which makes it possible
to perceive the outlines.
NICOLE
In public museums, we
are only allowed to touch
the base of the sculptures,
which is of little interest!
I had the opportunity
to visit the Delacroix
museum one day when it
was closed. We were given
gloves so that we could
touch the sculptures. I
could discover the shapes,
but it was impossible to
feel the materials.
Art’Pi! / SPECIAL REPORT / 47
NAJI
Even if I manage to do some sculpting and pottery,
touching them doesn’t give me any particular
impressions or pleasure. However, an experience with
dance really moved me. I especially liked the feeling of
dancing together with the teacher as partner.
NICOLE
In 2012 I discovered, for
the first time, an exhibition
adapted to my senses.
Toucher pour voir (Touch in
order to see) presented the
tactile paintings of Adelio
Sarro, a Brazilian painter.
It was very moving, to be
encouraged to touch the
paintings. The outlines of
the shapes were in relief,
and the materials changed
according to the colors
being represented: black
was sharper, white very
soft…
INTERVIEW BY
VÉRONIQUE
BERTHONNEAU &
DELPHINE GOIRAN
illustrations Elza
Montlahuc
NAJI
During one
performance, Ramesh
Meyyappan allowed
me, BEFORE the show,
to touch and explore
the elements of his
set. During the show,
thanks to the person
accompanying me,
who "translated" for
me, I was able to fully
appreciate the play,
using the memory
of the elements I’d
touched beforehand.
p.3
Their dreams
Nicole
My dream: to go to the South of France and do
the tactile itinerary proposed by the MuCEM
(Museum of European and Mediterranean Civilizations), in Marseille. A guided visit conceived
to help discover archeological works through a
multi-sensory approach.
Naji
I wish for three important measures to improve
accessibility:
• have the right to touch art works when
possible;
• be able to touch the stage and the sets before
a performance;
• be accompanied by tactile interpreters during
performances.
To know more:
http://www.louvre.fr/pistes-de-visite/
decouverte-de-la-galerie-tactile
http://www.mucem.org/fr/node/1512
http://www.adeliosarro.com/home2.php
http://www.musee-delacroix.fr/fr/le-musee/
infos-pratiques/informations-pratiques
NICOLE
I like to wander in
public gardens or at
archeological sites,
there where everything
is permitted. My
best memory is the
site at Pompeii. The
smell of the lava,
the roughness of
the stones, cold and
hot, soft and rugged,
helped me relive the
history of that place.
48 / ART'PI ! JUNIOR / Art’Pi!
8-12
years
ART'PI ! JUNIOR
Prehistoric Times,
origins of art
Let’s start with
a journey far, very
far, back in time, to
discover humankind’s
first museums: caves!
AT THE VERY
BEGINNING
© MCC-CNP
© MCC-CNP
Buffalo
Horse
Pre
Over 30,000 years ago, during
prehistoric times, prehistoric Man
painted on cave walls to tell the
stories of what he saw, what he
lived or the animals he hunted. It
is believed these paintings were
sacred and magic rituals.
television
c
i
r
to
s
i
h
Prehistoric
animals
Mammoth
Painting on the
cave walls is one
of the first arts
created by Man.
We call it
© MCC-CNP
cave art.
Art’Pi! / ART'PI ! JUNIOR / 49
HAIR AND DUST
Prehistoric
st
What did prehistoric Men
use to paint?
art
i
Paintbrushes
made of horse
hair tied to
wooden sticks.
Their fingers.
Feathers.
Tools
There was no paint in tubes as there
is today. Prehistoric Men used to rub
stones together in order to get colored
dust; these are called
mineral pigments.
The stencil technique
In the paintings dating back from
this era, many prints of hands
were found. To draw these on cave
walls, prehistoric Men stuck their
hands to the rocks and blew colour
around them with their mouth.
This is called the stencil
technique.
It is believed that
cave Men used to
communicate with
signs. Signs could
be the first language
known to mankind!
What does it mean?
Cave art
Paintings, drawings, engravings or sculptures, cave art refers to all art forms
represented on cave walls.
Pigments
Generally a powder, a pigment is the substance used to give colour to paints.
It can be made of vegetals (coming from plants), of synthetics (man-made) or
of minerals (coming from stones).
50 / ART'PI ! JUNIOR / Art’Pi!
AND TODAY?
Nowadays, people no longer paint inside
caves but artists continue to be attracted
by the idea of painting on walls.
In the streets,
walls are still
being used as
a medium to
express daily
life, as well as
dreams and
creativity.
is
fit
f
a
gr
P r e his t or ic
© Rocky Zéro
Today, painting
on street walls in
simply called
street art.
Several techniques
are used to paint
in the streets.
Amongst them,
the stencil
technique as used
by our prehistoric
ancestors is still
being used.
Blek le rat's stencil © Rosine Klatzman, 1983, Paris
Several thousand years later, this
technique has evolved: artists no longer
use their mouth, and instead they use
sprays which release colours without
getting their teeth dirty.
What does it mean?
Street Art
Street art refers to all works of art found in the streets ̶drawings, graffiti, stickers...
Graffiti
A graffiti is a writing or a drawing on a wall, a monument or an object which is not
usually used as an art material. This is also an art form.
Art’Pi! 51
Art’Pi! / ART'PI ! JUNIOR / 51
YOUR TURN!
You too can also enjoy drawing your own frescos or street art!
• thick paper or
cardboard
1
• thin paper or
the background
downloaded from
the the Art'Pi !
website
• a pair of scissors
• a sponge with
water paint or
crayons
1. On a thick piece of paper or cardboard,
draw an animal of your choice or the
outline of your hand (in your favourite SL
configuration) and cut this drawing out.
2. Lay this drawing on a thin sheet
of paper or on a Art'Pi!design (to be
downloaded on artpi.fr).
2
3
3. Dab around the drawing with a sponge
wet with paint or draw the outline with a
crayon.
4. Use your imagination to finish your
work of art!
Take a picture of your drawing and
send it to [email protected].
Your drawing will be part of the Art’Pi!
fresco which will be on our website for
our next issue!
Did you know?
You can discover prehistoric
frescos in the cave Lascaux II,
France. The paintings there do not
date back 18,000 years but are only
31 years old! To preserve the 'real'
Lascaux cave, the original drawings
were copied in another cave that
anybody can visit.
More info
Visit the L
ascaux ca
ve
in LSF at:
www.lasc in 3D and
aux.cultu
re.fr.
Find out m
ore about
Prehistor
and othe
r historica
y
l ages wit
L’Histoire
h
à premièr
es vues (A
frist glan
ce at hist
o
r
y) by Sign
de Sens É
es
ditions:
www.apr
emieresv
ues.org
p.3
PERRINE ROSENZWEIG &
AMANDA EVERITT
Illustrations Margot
carrër & émilie ramain
52 / SOMMAIRE / Art’Pi!
Agenda
54-55
Performing Arts
Theater, puppets, music, stories...
56-57
Film and Video
Documentaries, fictions, videos, festivals...
58-59
Art/Culture
Architecture, History, sculpture, fashion...
60-61
Multimedia
Sites, blogs... everything to be seen on the net
62-63
Publishing
Youth, essays, biographies, novels...
All materials or events are available in French and/or LSF
only unless otherwise indicated.
Art’Pi! / WHERE IS IT ALL HAPPENING? / 53
Where
is it all
happening?
5
3
4
2
In the blink of an eye,
find all the Deaf events
region by region and
abroad.
8
1
6
1
7
5
AQUITAINE
ÎLE DE FRANCE
Paris (75)
Qui a peur du loup ? (p.54)
Versailles (78)
Citoyen(ne)s, et vous ? (p.58)
(Chateau & cloister)
(Who is afraid of the wolf?)
(Citizens, and you?)
Périgord (24)
Château & cloître (p.58)
Permanent.
2
BOURGOGNE
Dijon (21)
La Vapeur (p.55)
Permanent.
3
BRETAGNE
Brest (29)
Festival Européen du film court
(Short movie European festival) (p.57)
November 11 to 16.
4
CENTRE
La Ville-aux-Dames (37)
Signes & sons (p.54)
(Signs and sounds)
November 14.
Tours (37)
Signes & sons (p.54)
(Signs and sounds)
October 19 at 4 p.m.
October 5, 12, 19 and 26.
October 15, 20 to 24 and 27 to
31 at 3 p.m.
Heure du conte (p.54)
(Story time)
October 8, November 12 and
December 10 at 10.15 a.m.,
10.45 a.m. and 4 p.m.
October 11, November 15 and
December 13 at 11 a.m.
François Truffaut (p.56)
From October 8 to January 25.
Les années 50 (p.58)
(The Fifties)
October 9 at 6.30 p.m. and
October 18 at 2 p.m.
Festival du film lesbien &
féministe (p.56)
(Lesbian and Feminist Film Festival)
October 30 to November 2.
L'étoile de Uatu (p.54)
(The Uatu Star)
November 12 at 2 p.m. and 3.30 p.m.
Franck Gehry (p.58)
November 15 at 2.30 p.m.
Histoires en voix et en doigts
(Voice and finger stories) (p.54)
November 30 at 4 p.m.
Jeff Koons (p.58)
December 13 at 2.30 p.m.
Until October 12.
Cergy (95)
Au-delà du Silence ! (p.54)
(Beyond silence!)
October 11 and 12.
Villarceaux (95)
Bois et hameaux oubliés (p.58)
(Forgotten woods and hamlets)
October 12 at 2 p.m.
6
MIDI PYRÉNÉES
Toulouse (31)
Mon Brassens (p.55)
(My Brassens)
From December 9 to 13 at 7 p.m.
7
PROVENCE ALPES CÔTE
D'AZUR
Nice (06)
These books are made for
walking... (p.54)
November 15 at 3 p.m.
Marseille (13)
Galerie de la Méditerranée (p.58)
Permanent.
8
RHÔNE ALPES
St Cyr sur Menthon (01)
Contes de Bresse et d'ailleurs
(Tales from Bresse and other places) (p.58)
November 9 at 10 a.m.
Lyon (69)
Catharsis (p.55)
October 30 to November 9.
Un étrange cadeau (p.54)
(A strange present)
From December 11 to 30.
ARGENTINA
Buenos Aires
Festival Internacional de Cine
Sordo (p.56)
2015.
BELGIUM
Liège
Sourd, et alors ? (p.55)
(Deaf, so what?)
October 19 at 5 p.m.
Performing Arts
Film and Video
Art/Culture
54 / AGENDA / Art’Pi!
© Gilles Aguilar
© Mellie Valénat
PERFORMING ARTS
READING
CLOWN
Signes & sons
Au-delà du Silence !
Colours in the eyes, shades
in the voices, hands painting
space. A reading session where
music and signs combine to
become a rainbow.
3 years old onwards.
When LSF meets speech. Nana
and Yaya ponder about their
differences. They want to know
each other better, but how can
this be achieved when there is
no common language? A family
show.
(Signs and sounds)
October 19 at 4 p.m.
Hôtel de ville, Tours (37)
November 14
October 11 and 12
FESTIVAL VIVA LA VIDA,
CERGY (95)
www.rayondecrits.fr
PUPPETS
Un étrange cadeau
(A weird present)
The decor is a ton of books for
this silent modern circus show,
during which two characters will
stamp, dance and ponder.
Adults and children 3 years old
onwards.
A box with a mystery inside.
A box with a world, a world to
be delved into. Silent theater
and puppets, by the ppcmART
Collective.
1 year old onwards.
November 15 at 3 p.m.
December 11 to 30
Maison des associations,
Nice (06)
www.signes-roya.org
Théâtre des Clochards
célestes, Lyon (69)
www.clochardscelestes.com
STORIES
PUPPETS
STORY
NURSERY RHYMES
Heure du conte
L'étoile de Uatu
David with his hands, Anne
Laurence and Fabio with their
voice tell stories.
For the very young ones, the Joli
Rêve (Sweet Dream) company
offers an imaginary universe
made of soft lights, animated
and spoken, in LSF and French,
for this show full of mystery and
gentleness.
2 years old onwards.
The 10 Doigts Company offers
a time of physical poetry, and
tells stories in signed words
and in spoken words! Bilingual
French/LSF
4 years old onwards.
Meet up with Val Tarrière and
Bachir Saïfi in a signed musical
journey. The wolf is the central
character of these stories and
nursery rhymes in LSF and
French.
4 years old onwards.
November 12 at 2 p.m. and
3.30 p.m.
November 30 at 4 p.m.
Théâtre Astral, Paris (75)
(Story time)
October 8, November 12 and
December 10 at 10.15 a.m. and
10.45 a.m. for 2-4 years old.
and at 4 p.m. for 5 years old
onwards.
October 11, November 15,
December 13 at 11 a.m.
for 2-4 years old
Bibliothèque Chaptal,
Paris (75)
(The Uatu star)
IVT, Paris (75)
compagniejolireve.over-blog.
com
Histoires en voix
et en doigts
© Art'Sign
© Maxime Bouhours
La Ville-aux-Dames (37)
www.cie100voix.fr
(Beyond silence!)
CIRCUS
These books are
made for walking...
(Voice and finger stories)
Bibliothèque Chaptal,
Paris (75)
Registration:
[email protected]
Qui a peur du loup ?
(Who is afraid of the wolf?)
October 5,12,19 and 26
October 15, 20 to 24 and 27 to
31 at 3 p.m.
La Baleine Blanche, Paris (75)
www.art-sign.org
Art’Pi! / AGENDA / 55
Art’Pi! 55
© Gilles Aguilar
PERFORMING ARTS
CONCERT
Mon Brassens
(My Brassens)
A convergence of Brassens’
songs, virtual poetry in Sign
Language and Sale Petit
Bonhomme’s musical world,
the trio highlights the colours
hidden in these songs.
December 9 to 13, 7 p.m.
Théâtre du Grand Rond,
Toulouse (31)
www.grand-rond.org
Show
ONE MAN SHOW
Catharsis
With this show full of charm,
Sigrid Flory aimed to share
his life and his experience.
Three interpreters (song, Sign
Language, dance) in three
scenes full of humour.
From October 30
to November 9.
Théâtre des Clochards
Célestes, Lyon (69)
www.compagniecatharsis.com
ADAPTATION LSF
Les théâtres du réseau Accès Culture vous
proposent des spectacles adaptés en LSF par un
comédien Sourd ou un comédien-interprète LSF.
Une belle programmation à découvrir !
Tel quel ! Thomas Lebrun
Maison de la Danse Lyon
Centre Culturel Jean-Gagnant Limoges
Centre Chorégraphique National de Tours Tours
Théâtre 71 Malakoff
Warm David Bobée
CDN de Haute-Normandie Rouen
n
De passage Johanny Bert
Le Fracas Montluçon
Comédie De l’Est Colmar
Culture Commune-Scène Nationale du bassin-minier
du Pas-de-Calais et la Scène du Louvre-Lens Lens
A.B.C-Festival À pas contés Dijon
Pour recevoir gratuitement la brochure
[email protected]
www.accesculture.org
Sourd, et alors ?
MUSIC
La Vapeur
Jef’s takes his inspiration from
his daily life, his thoughts and
our absurdities. With his interpreter, he takes us for a show
which appeals to everyone,
Deaf, hearing, old, young or
blonde.
This venue, mostly a stage for
contemporary music, regularly
offers events accessible to
the Deaf: tours of the venue in
LSF, adapted parties with bar
and reception in LSF, selected
concerts using light effects,
vibrating drums on disposal…
Voo Rire de Liège, Belgique
www.voorire.be
La Vapeur, Dijon (21)
www.lavapeur.com
(Deaf, so what?)
October 19 at 5 p.m.
Aladin Matèj Forman
Théâtre du Jeu de Paume Aix-en-Provence
Paradis Lapsus Pierre Rigal
Théâtre National de Chaillot Paris
Tandem Douai-Arras / Théâtre d’Arras Arras
Le Petit Chaperon rouge Joël Pommerat
Le Trident Cherbourg-Octeville
Théâtre de l’Agora-Scène Nationale d’Évry et de l’Essonne Évry
Le grand R La Roche-sur-Yon
Un chien dans la tête Olivier Letellier
Théâtre national de Bretagne Rennes
Une année sans été Joël Pommerat
Le Carreau-Scène Nationale de Forbach
et de l’Est mosellan Forbach
Frankenstein Paul Desveaux
Théâtre de Sartrouville et des Yvelines-CDN Sartrouville
Le Grand T Nantes
La Mélancolie des dragons Philippe Quesne
Nanterre Amandiers Nanterre
Centre dramatique régional de Tours Tours
Contact Philippe Decouflé
Théâtre National de Chaillot Paris
The Elephant in the room Cirque Le Roux
La Criée, Théâtre national de Marseille Marseille
56 / AGENDA / Art’Pi!
FILM AND VIDEO
26e
FESTIVAL INTERNATIONAL du
CINEFFABLE présente
FILM LESBIEN & FEMINISTE de PARIS
Quand les lesbiennes se font du cinéma
www.cineffable.fr
du 30 octobre au 2 novembre 2014 Espace Reuilly
21 Rue Antoine-Julien Hénard 75012 Paris métro Montgallet
DOCUMENTARY
Avec nos yeux
(With our eyes)
A journey into the Deaf world.
This chronicle, filmed over
several years, follows the
International Visual Theatre
fight to build its site in the heart
of Paris: the life of the theatre
crosses the Deaf comedians‘
personal stories.
www.avecnosyeux-film.com
FILM
That's not all of me
EXHIBITION
François Truffaut
This year marks the thirtieth anniversary of François
Truffaut’s death. Together with
a complete retrospective of his
work, a major exhibition is dedicated to the film director.
From October 8 2014 to
January 25 2015
Visits in LSF: Check on the
website, Cinémathèque, Paris (75)
www.cinematheque.fr
DVD
Roméos
The British association Life &
Deaf gathered poems written
by Deaf children, expressing
their feelings on their identity.
Weaved together, these texts
form the basis of a film in which
authors, actors and technicians
are all young Deaf.
Lukas has just turned 20. He
tries to keep his secret from
everybody–Lukas is transgender, a girl who became a boy.
www.lifeanddeaf.co.uk/film
www.outplay.fr/romeos.html
A delicate and appealing film by
Sabine Bernardi, subtitled for
the Deaf and hard-of-hearing.
ANIMATION
Le sens du toucher
(The sens of touch)
Chloé and Louis love each other
in secret. Signs replace words,
and each meeting is a choreography. When Louis invites
Chloé, he uncovers his dark
sides… A short film by JeanCharles Mbotti Malolo.
TEASER
www.youtube.com/
watch?v=gSYGwkJHRIY
DVD/CD
Silent Shout
WOMEN
Festival du film
lesbien & féministe
(Lesbian and Feminist Film Festival)
An explosive cocktail, fighting
self-righteousness and generating of different ideas. Subtitles
for the Deaf, interpretation for
presentations, meetings and
debates.
October 30 to November 2
Espace Reuilly, Paris (75)
www.cineffable.fr
ARGENTINA
Festival
Internacional
de Cine Sordo
Changing the world with his rap
in Sign Language and his exceptional stage performances, the
famous rapper Signmark was
the first Deaf artist to sign with
an international production
company. His third album, Silent
Shout is now out.
The very first International
Festival of Deaf Cinema in
Argentina will take place in
Buenos Aires in 2015. Another
opportunity to discover exceptional artistic creations.
www.signmark.biz
www.ficsor.com.ar
Art’Pi! 57
Art’Pi! / AGENDA / 57
© Le Collectif Informel
FILM AND VIDEO
THRILLER
FILM
The plots focusses on five characters, Deaf, hard-of-hearing
or hearing, in a post-apocalyptic
setting. With humour, emotion
and realism, this movie shows
how essential communication
is for our common survival.
Laura wants to have a baby.
Oussmane wants to become a
known artist but becomes deaf.
Kahina wants to see her son
again. They will all meet while
chasing their dream. How is
love built? How to make love? A
film by Djinn and Salomé.
Lake Windfall
www.rusticlanternfilms.com/
films.html
FLA
www.lecinemaquejaime.com
COMEDY
Four Deaf
Yorkshiremen
Four Deaf Yorkshiremen go to
Blackpool is a comedy about
four old grumpies who go to
Blackpool to meet other Deaf
people. But their holiday does
not quite go as planned!
www.bslzone.co.uk/watch/
four-deaf-yorkshiremen-goblackpool-promo
SHORT FILMS
29e Festival Européen
du film court de Brest
(29th Brest European Short Film Festival)
This year as previously, three
sessions are translated in LSF,
thus allowing Deaf audiences to
discover a wide range of films, in
selection and in competition.
From November 11 to 26
www.filmcourt.fr/
58 / AGENDA / Art’Pi!
ART/CULTURE
BàBDP
PAROLES CITOYENNES
Langue des signes française (LSF) et Français
Appel à récits de vie des personnes sourdes
et entendantes côtoyant des sourds
V#9 21* =72=:21V882*:21/2*]e\]
279ON\bda\^a\^e
Email : [email protected] / Site : www.babdp.org
VIDEOS
Citoyen(ne)s, et vous ?
(Citizens, and you?)
A video installation shows testimonies designed to fight prejudice and better understand one
another despite differences.
Until October 12
C3M/Théâtre de l'Octroi,
Versailles (78)
www.orpheefestival.com/
orphee_2014_citoyennes_et_
vous.htm
ARCHITECTURE
SCULPTURE & PAINTING
A retrospective dedicated to
Franck Gehry’s work, one of the
major figures in twentieth-century contemporary architecture.
It recounts the evolution of the
artist’s plastic language.
Art works from the world over
contribute to this retrospective
which showcases the controversial American artist’s various
work cycles, from 1979 to this
day.
Visit in LSF on November 15
at 2.30 p.m.
Centre Pompidou, Paris (75)
Visit in LSF on November 13
at 2 p.m.
Centre Pompidou, Paris (75)
Franck Gehry
www.centrepompidou.fr/
handicap
Jeff Koons
www.centrepompidou.fr/
handicap
HISTORY
Galerie de la
Méditerranée
The multimedia guide enables
a free visit in Sign Language.
Through a selection of major
objects commented by the
museum curators, specialists
and artists, it encourages to
observe better and understand
more.
MuCEM, Marseille (13)
www.mucem.org
LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND
ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU
MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE
DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC
- CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE
CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU
DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE
BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC
- LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE
DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES
LES GRAN DS SITES
JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC
- LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU
MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE
PÉR IG O R D
DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC
- CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE
DU
CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU
DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE
BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC
-LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND
ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU
MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE
DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC
- CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE
CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU
DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE
BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC
- LA GROTTE DU GRAND ROC
LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND
ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU
MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE
DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC
- CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE
CHÂTEAU DE BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU
DE MONBAZILLAC - LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE
BOURDEILLES - LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC
- LA GROTTE DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES LASCAUX II - LES JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE
DU GRAND ROC - LE CLOÎTRE DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II - LES
JARDINS DU MANOIR D’EYRIGNAC - CHÂTEAU DE MONBAZILLAC - LA GROTTE DU GRAND ROC
D OCHÂTEAU
S S I E R DE BOURDEILLES - LASCAUX II - LES JARDINS DU
- LE CLOÎTRE DE CADOUIN - LE
2014
MANOIR D’EYRIGNAC - CHÂTEAU
- LA GROTTE DU GRAND ROC - LE CLOÎTRE
D EDE PMONBAZILLAC
R ES S E
DE CADOUIN - LE CHÂTEAU DE BOURDEILLES - LASCAUX II
MIDDLE AGE &
RENAISSANCE
Les années 50
In order to visit these two
monuments of exceptional
architecture, a visioguide in LSF
can be rented or an application
be downloaded.
Bodices, petticoats, bustier
dresses: such was the fashion
in the fifties, while, at the same
time, the baby boomers followed a relaxed fashion.
Château de Biron AND
Cloître de Cadouin,
Périgord (24)
Visits in LSF on October 9 at
6.30 p.m. and October 18 at
2 p.m.
Palais Galliera, Musée de la
mode, Paris (75)
Monuments
www.semitour.com/
site-touristique/
cloitre-de-cadouin#tabs2
FASHION
(The Fifties)
www.palaisgalliera.paris.fr
NATURE
Bois et
hameaux oubliés
(Forgotten woods and hamlets)
VISIT & STORY
Contes de Bresse
et d'ailleurs
(Tales from Bresse and other places)
In Ile-de-France, The French
Vexin is a preserved territory
which offers surprising landscapes. So many environments
where rather unexpected fauna
and flora develop.
Discover the listed Bressan
farm and the show Conte et
signes du jardin (Tales and signs
from the garden), translated by
the company La Main Tatouée.
www.pnr-vexin-francais.fr
[email protected]
Walk in LSF on October 12 at
2 p.m.
Parc naturel du Vexin,
Villarceaux (95)
Visit and story in LSF on
November 9 at 10 a.m.
Musée départemental
de la Bresse, St Cyr sur
Menthon (01)
More informations
Art’Pi! / AGENDA / 59
Art’Pi! 59
ACCESSIBILITY
WEEK
at the musée du quai Branly
Visits • Workshops • Storytelling
Events • Tactile paths
Screenings • Conferences
Nov. 29th - Dec. 7th, 2014
free and open access
www.quaibranly.fr
Physical
disability
Magnetic
induction loop
Visual
disability
Mental
disability
People with
reduced mobility
Hearing
disability
French Sign
Language (LSF)
Accessibility week. River tour. The River (La Rivière) is a museographical experience intended for a wide audience and in particular for people with a disability – sponsored by Schneider Electric © musée du quai Branly, photo by Cyril Zannettacci / Visit adapted for disabled people © musée du quai Branly, photo by Cyril Zannettacci / Accessibility week. Adventure of
a work in the dark © musée du quai Branly, photo by Didier Gauducheau / Sign language guided tour. The permanent exhibition area © musée du quai Branly, photo by Pomme Célarié / A tour with the museum LSF video guide for deaf and hearing-impaired visitors © musée du quai Branly, photo by Pomme Célarié
60 / AGENDA / Art’Pi!
MultimEdia
LITERARY CRITIC
Une École du Regard
(A school of look)
LANGUEDOC
APPLICATIONS
(Culture without boundaries)
Ways to learn LSF evolve with
time and new technology.
Although the best way to learn
Sign Language remains to meet
with Deaf people, here are a few
applications that will help you
increase your vocabulary.
www.francosourd.com/profiles/
blogs/10-apps-pour-apprendrela-langue-des-signes
Culture Hors Limites
Inspired by our desire to improve
our knowledge of narrative
creation in signed languages,
we created this V/Blog in order
to share our analyses of artists’
works and collectively develop
research tools.
Accessible cultural places, the
agenda for all adapted events,
useful links and accounts can
all be found on this community
platform. This is LanguedocRoussillon’s website on
accessibility for all.
ecoleduregard.wordpress.com
www.culture-hors-limites-lr.fr
MOTION CAPTURE
Sign3D
Mocaplab, IRISA and Websourd
teamed up together to offer
tools to capture and treat Sign
Language, with restitution
through a virtual character.
www.3dvf.com/actualite9147-sign3d-motion-captureau-service-langue-signes.html
USA
Deaf Spotlight
Deaf Spotlight inspires, encourages and showcases creations
of, by and for the Deaf in the
North-West Pacific. It organises events which celebrate
Deaf Culture and American Sign
Language. Site in English.
www.deafspotlight.com
LSF
SCULPTURE
Jean Léger
"My life had no meaning the
way it used to be. I only came
to life at the age of 42, when I
started to sculpt." According to
Jean Léger, being an artist is no
choice but rather fate.
mapage.noos.fr/magnin.
florence/jeanleger/index.html
PROFESSIONALS
Signes et compétences
(Signs and Skills)
The ‘Mes signes, tes compétences’ Association has set up
a video directory of professionals using Sign Language. Each
professional presents his/her
activity on video, using Sign
Language.
signesetcompetences.fr/
category/culture-5
COMEDIAN
Jag DeafBlind
Entertainer
This deaf-blind comedian
entertains crowds thanks to his
wonderful ability to tell comic or
poetic stories with his hands,
face and body in American Sign
Language. Site in English.
www.jagdbe.com
Art’Pi! / AGENDA / 61
Art’Pi! 61
multimEdia
COMIC BOOK
CINEMA
SHORT FILM
(Pretty May)
This film director splits his time
between his job as a producer
for the BBC and his personal
projects in film-making. On his
website, you can discover his
short films: whether comedies
or drama, he aims to provoke
emotion, and he succeeds! Site
in English.
wlmager.com
Tournesols
Le Joli Mai
Sandrine Allier-Guepin is a
comic book author and painter.
Through her blog, she wishes to
share with the Deaf and hearing the pleasure she gets from
drawing, explain why and how
she works and express her pride
in being Deaf.
Le Joli Mai aims to encourage
encounters between the Deaf
and hearing world though
cinema. It misex audiences in
venues and allows complete
and adapted access to cinematographic events, whether they
be French or foreign.
www.lejolimai.org
(Sunflowers)
tournesols.over-blog.fr
WLMager
TELEVISION
FocusFive
FocusFive is a Swiss Webtv and
a pioneer in its field. Founded
in 2003, it aims to broadcast
news, sports and cultural programmes in Sign Language,
with subtitles and voice. A
bridge between Deaf and hearing. Site in German.
focusfive.tv
Permettre aux Sourds de
communiquer et d’accéder à l’emploi
Cliquez et entrez en
contact !
Un accès gratuit
au téléphone
Le 1er site pour l’emploi
accessible aux sourds
Lyon
Toulouse
Chambér
y
Chambéry :
Médiathèque Jean-Jacques Rousseau
Lyon :
ex aequo
Toulouse :
Médiathèque José Cabanis
Maison de la citoyenneté Saint-Agne Niel
Maison de la citoyenneté Saint-Cyprien
Maison de la citoyenneté Minimes quartier Nord
AGEFIPH
Crédit Agricole 31
RATP
SAUR
SNCF
Véolia Eau
Déposez votre CV !
www.jobsourd.fr
62 / AGENDA / Art’Pi!
Action et mobilisation
S’exprimer, découvrir, échanger
Tout ce qu’il faut savoir sur
Numér o 3
la
de
n Man
Nelso
Avril 2014
MAG
Pâtissier ou
magicien ?
ter
Surmon
sa peur
.
LE
DOSSIER
ACTI-MOBS.
S
PUBLISHING
Vous ne connaissiez
LES
pas le Chili
Magazine édité par le
MAGAZINE
Les Acti-Mobs !
This participative magazine
aimed at the youth, and especially the young Deaf, is designed to become a medium made
by and for the young.
Its objective is to promote
communication and common
projects.
Publisher: CNFEDS
www.univ-savoie.fr/index.
php?id=1713
CHILDREN
BOOK/DVD
Les Histoires à mimer
(Stories to mime)
CHILDREN
COMIC BOOK
Madame L'Émue, Peur
(Mrs Emotional, Fear)
In an adventure told with
colours, drawings and hands,
in sketched Sign Language and
French, Madame l’ Émue meets
with fear…
Authors: Olivia Le Divelec &
Benoît Rivals
Co-Publishers: Éditions
Goater & 10 doigts cie
www.10doigtscompagnie.
jimdo.com
AUTOBIOGRAPHY
Je suis né deux fois,
fragments d'identité
(I was born twice, pieces of identity)
Thanks to this book collection, children can tell stories
anyway they wish, using mime,
words, voice and pictures.
Three volumes to tell stories
differently! From 2 years old
onwards.
A republication which re-uses
the original title. The author
himself has added, revised and
illustrated his autobiography
with many photographs. Only
available in digital format.
www.signesdesens.org
www.2-as.org/editions-du-fox
Publisher: Signes de sens
Éditions
Author: Joël Chalude
Publisher: Éditions du Fox
BIOGRAPHY
Jeunesse de
Laurent Clerc
(Laurent Clerc's youth)
A fictionalised biography which
tells the early years of Laurent
Clerc–hero of the French Deaf–
at the INJS (National Institute
for the Young Deaf), who later
went to America with ThomasHopkins Gallaudet. A book
accessible to all.
Author: Cathryn Carroll
Publisher: Airelle Éditions
www.airelle-editions.fr
ESSAI
Deaf Gain
Several academics contributed
to this work based on the idea
of "Deaf Gain” or how society
can benefit from Deaf culture.
Language: English
Authors: H-Dirksen L.
Bauman & Joseph J. Murray
Publisher: Minnesota
www.upress.umn.edu/
book-division/books/
deaf-gain
SPORT
La vie en courant
(Living and Running)
This lively account, written as a
conversation, is full of information about running and in particular about Laurent Marsollier's
life, a Deaf marathon runner who
made his dream come true...
Words collected by Patrice
Gicquel
Publisher: Édilivre
www.edilivre.com
www.patricegicquel.fr
CHILDREN
BOOK/DVD
Balbu'Signes
Ten nursery rhymes in French
and LSF who raise awareness
among Deaf and hearing children of what difference is all
about. They use oil painting, percussions, voice and sign song.
Illustrations: Benoît Rivals
Sign song: Damien Mignot
Music: Karl Bonduelle
Publisher: 100 Voix édition
www.cie100voix.fr
Art’Pi! 63
Art’Pi! / AGENDA / 63
PUBLISHING
MA PAROLE
de Jean-Yves Augros
Lecture en Langue des signes
et en Langue Française
Lecteur
Jean-Yves Augros
Avec
Un interprète LSF
ACCOUNT
Ma Parole
(My speech)
Following his success with his
show, Jean-Yves Augros wished
to continue his experience
by writing a book. Through
his account, he continues to
explore the meaning of the verb
"communicate".
Author: Jean-Yves Augros
Publisher: Éditions IVT
www.ivt.fr
ESSAI
Les sourds,
le français et la
langue des signes
(The Deaf, French language and
Sign language)
This work confronts language
acquisition in hearing children
and Deaf children, with the
perspective of an educated teaching of language.
Authors: Philippe Geneste &
Philippe Séro-Guillaume
Publisher: CNFEDS
www.lcdpu.fr/editeurs/edus
DICTIONARY
Tu vois ce que
je veux dire ?
(See what I mean?)
592 expressions explained and
translated in LSF: designed
for the Deaf, this bilingual dictionary is also an invitation to
discovery for the hearing.
Author: Monica Companys
Illustrations: Domas
Publisher: Monica Companys
www.monica-companys.com
AUTOBIOGRAPHY
Un jour,
je serai sourd
(One day, I will be deaf)
Losing one’s natural condition is
a real challenge. Julien became
deaf at 36.
He feels he belongs neither to
the Deaf community nor to the
hearing one.
Author: Julien Laigre
Publisher: Airelle Éditions
www.airelle-editions.fr
64 / AGENDA / Art’Pi!
AND IF THIS WAS FOR YOU?
Artists and
performers
The Incloodu Deaf culture festival (London) is looking for
Deaf or hard-of-hearing artists
and performers, who sign or
oralise, for January, 24 2015.
Performances, exhibitions, films,
music and many more will take
place throughout the day for
families and into the night for
adults.
[email protected]
www.incloodu.co.uk
Author
Course
I am looking into creating a
book on art and the Deaf for
my collection "L’air du Temps".
This book would aim to gather
information, accounts as well
as reproductions of Deaf artists’
works.
Do you work in culture, welcoming and exchanging with
the Deaf? Through our course
"Accueillir le public Sourd”
(Welcoming Deaf public), you will
learn the basics of Sign Language
and gestural communication.
You will also be introduced to
what Deafness is about.
The Signes Association is
organizing a first professional
course for Deaf comedians. It is
taking place on October 22-23 in
Nice. The coach will be Ramesh
Meyyappan, a great Deaf artist
whom you all know.
October 13-14 2014
December 11-12 2014
February 16-17 2015
If you are interested in this
course, we will send you the
programme and all details.
If an author with credentials
wishes to work towards this,
please contact:
[email protected]
[email protected]
www.signesdesens.org
Course
for comedians
www.signes-roya.org
Deaf Art
Magazine
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You can receive the paper version of the magazine at your
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Don’t wait! Contact us at [email protected]
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AVRIL
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Today, Art'Pi ! magazine is present in numerous cultural
institutions.
Do you belong to an association, a specialized company, a library, a
theater, a museum, a festival…?
Help Art'Pi !’s circulation in your area by making it available at your
institution!
Write us at [email protected]
p.3
66 / ART'PI ! COMIC STRIP / Art’Pi!
© Jean-Marie Hallegot
L
CAL
N
O
D
OR
F
Six historical paintings kept at the INJS
(National Institute for the Young Deaf) are
deteriorated. These paintings are of great
value to the Deaf Community. They need
care and deserve to return to their original
splendor. Take care of their preservation,
and support the INJS.
Make a donation (5 euros and more), by
cheque only, payable to Agent comptable
de l’INJS de Paris , and send it to INJS de
Paris, bibliothèque, 254, rue Saint Jacques,
75005 PARIS.
www.injs-paris.fr/evenement/
souscription-pour-restaurationtableaux
S
N
O
I
T
A
Support the
preservation
of historical
paintings