English

 

 Summary

1  Theater Automne 2085 nomadic company of puppet

2  Notes of intention

3  Creation process : music, scenography, visual matter

4  Why L’hologramme brisé ?

5  The team

 1.Theatre Automne 2085 – nomadic company of puppets and substances –

 The company was established in 2006 following the meeting of Júlia Kovács and Arnaud Delicata . Both graduated in ESNAM, National School of Puppet Arts in Charleville-Mézieres .

2008creating two shows they left France with a van to perform on the road. Their journey led to Indonesia and across 17 countries in two years. They stayed longer in Hungary, Bosnia, Turkey, Armenia and India.

They resided in Indonesia from June 2010 until November 2012 to discover Javanese performing arts in ISI SOLO (Institute of Indonesian Arts Surakarta , Central Java) and they have collaborated with local artists. They continued to present their shows fed by these new experiences.

In 2013, they returned to France to work for 2 years with le Theatre de Nuit – shadow and figure theatre – Júlia as puppeteer, Arnaud as advisor on directing and as photographer.

From June to September 2013, again in Indonesia,  they participated in the creation of the show MASQ in Taman Budaya ( cultural center ) of Yogyakarta . It was a project of  Javanese composer,  Mo’ong.

Their approach to the art of puppet theater is simple and demanding: either it is alive or it is dead! Their main areas of research are: to speak about the invisible, to animate the still, and to probe the issue of the inseparable double life of puppet and puppeteer.

2. Notes of intentions

Way of staging is to show – like through a window – where the dazzling reflections on the glass cast a doubt on what belongs to the inside or to the outside.

To accompany the audience into a « state of uncertainty ».

To find a necessary lightness to balance the violent with the sweet and the pleasant.

As waiting and slowness is necessary, we also need surprises, wonderment, and why not, enchantment.

To focus during rehearsals to reintegrate « real » on the stage. One of the ways would be the emergence of récital, or the permanent presence of an independent counterpoint action, enlightened promptly.

The look, the sculpture of the head of MAmoMA pierced me, and the following calm created a moment of rooting which was fundamental and undistinguishable. This sensation interacted with my questioning of possible arrangements between the art of the puppet and the actor. It is the sincerity of the restitution of that moment which becomes the focal point of the piece : the paradoxical point of extreme suffering due to the loss of a loved one, his  imposed absence, leading to chaos, and a light conscience to be evolved in an all stable and calm state, without mysticism but with a beautiful part of the world of the unseen.

In other words, the subject of the proposal should not be despair, but the energy of despair.

3. Creation process : music, scenography, visual matter

 Matter of music

During the first performances there was only one moment of distant music, the first movements were made in total silence. Spectators created their own music. Then we worked with sound sensors installed on different scenic elements to collect sounds and transform them live during the show.

Rhythmic whispers appeared, then a song, a Hungarian lullaby.

that  we experimented with a more complete composition with two Indonesian musicians and an Italian sound designer: Mo’ong is a composer-guitarist experimenting with specific tuning and diverts of traditional javaneese gamelan instruments. Hamrin Samad plays « suling » which is a flute of the Sulawesi Islands, and a stringed instrument called « kecapi ». Both of them graduated in ISI Solo

In the future we would like to explore this emerging musical work by inviting two new musicians to join the team: Cécile Bellat aka Liz Bastard, French artist, to enter into this magma and make the grain of gentle violence, poetry, and voice and Vicki Unggul Bramantyo, sound designer met during the creation of the show Masq .

For us it became essential that the music has to be live,  and after beeing feeded of movements which were born in silence, the music will reinject elements which may be emerged:  distortions, overlays, refrains.

Matter of scenography

 The scenes take place in an unidentifiable location, we are in the mental space of MamoMA: empty places from her assembly until  she is standing,  then her dislocation, then places in charge of her present and her reminiscences around a mobile and hanging window which can be turned over to become a table, opening a new space for a stage of a smaller scale.

The scenographic project is to develop the system of counterweight hourglasses.

Twelve glass funnels, unique items, filled with sand are used as counterweights. They are connected with strings to other elements of the scenography. When they are losing their sand and becoming lighter, they let those objects move down.

These balance-hourglasses will be blown, treated and experienced with Francis Auboiron and Julien Espagne, glass-makers living in Yogyakarta.

The fragility of the glass and the technics of its enlightening will be the focus of research.

Matter visual matter

Hourglasses are pouring sand on the stage and on the window-table, offering geometrical shapes which must be controlled and to fixed.

The desire to have the presence of an in situ painter is also part of our dramatic research. In the distant future, this scenic counterpoint could become the main story.  By his emergence on the center of the stage, the postures of the painter can confuse or clarify the boundaries between the virtual and the real.

After the show the audience is invited to satisfy its curiosity by approaching the paintings which could  only be percieved promptly during realization and must therefore cross the stage, the place where they projected themselves.

paintings of Pascal Laloy are a mix of acidity and sweetness, ideal to keep the spectator in the « state of uncertainty » sought.

4  Why L’hologramme brisé ?

It was after reading a speech that Claude Levi-Strauss delivered on the occasion of a friendly ceremony at the College of France, on the 25th of January 1999, for his 90th anniversary:

Montaigne said that old age diminishes us every day and  it breaks us down as well, so  when  death occurs, it carries only a quarter of a man or a half-man. Montaigne died at 59 years and could not probably have idea of ‌‌extreme old age where I am today. In this great age that I did not think to reach , and is one of the most intriguing surprises of my life , I have the feeling of being a hologram broken. This hologram no longer has his entire unit , and yet , as in any hologram, each remaining part retains an image and a complete representation of all. So currently there is for me a real me, is only a quarter or a half-man, and a virtual me, who still retains a bright idea of all. Virtual, I draw up a draft of a book, begin to organize the chapters, and say to the real me « It’s your turn to continue ». And the real me, who can no longer make it, says to virtual me: « This is your business. It is you alone who sees all.« 

My life now takes place in this very strange dialogue. I am very grateful, that for a few moments today, due to your presence and your friendship, you stop this dialogue allowing me a short time so these two « me » could coincide again.

I know the real me continues to melt until the ultimate solution, but I am grateful that you have given a hand to me, by giving me the feeling for a moment that is otherwise. « 

5  The team

Arnaud Delicata, puppeteer, co-director

Born in Saint- Brieuc in 1977. He spends the free time of his childhood by walking around with an old watercolorist  to paint in situ exceptional trees, seascapes and other chapels in the Côtes d’ Armor. He attended theater workshops from the age of 8,  after living a child-actor experience in the film Voyage á Paimpol of John Berry .

studies music theory and piano at the Conservatory of Saint-Brieuc.

high school, he creates a theater group and participates in a project of a writing workshop with Françoise Chaxel in the National Theatre of Saint-Brieuc (La Passerelle), which became a drama-play called Un printemps s’est noyé dans la mer directed by Luc Quistrebert. Shortly after he plays in Les Bonnes of Jean Genet with the Theatre Totem, and participates in a performance of the artist Luc Perrot entitled NETRE .

By the age of 16 he became professional actor with the Theatre de Chimere (Lorient) for four years, have been on a tour in France with this traveling theater, continued his studies by correspondence and obtained his high shcool diploma in literature.

He participated in the development of a box-theatre that has been played for the audience of rave-parties in a resolutely underground theater called Juke Box Theatre (Brest), and he joined again Luc Quistrebert  and the Van Hai Vong Company in Theatre Zephyrs (Rennes ) .

the age of 23 he builds a string puppet. After the long process of manufacturing he leaves for playing in the street and wandering until Transylvania to meet Gypsy communities. On the road he is writing a story, Le brouillon apprivoisé… His first experience with puppets, their silent presence, leads him to a writing-procedure called  » stage-writing « , using less dialogues, essentially didascalic. He writes Asymptote, a play for « feet of doll, head in clay and plastic bag ».

 decided to continue the studies and enter to ESNAM (National School of  Puppet Arts) in Charleville-Mézières. There he  learns the importance of the precision of the dramaturgic work downstream to any artistic creation with Daniel Lemahieu and Sylvie Baillon, opens and confirms to himself the possible fields of a post-dramatic theater with Zaven Paré and Jean-Pierre Larroche. Claire Heggen brings him  the requirement of the work on the body and the movement.

Graduated in 2005, he co-founded with Júlia Kovàcs the Theatre Automne 2085, Nomadic theatre of puppets and substances. They created two puppet-plays to show on the road during a long journey, which led them to Indonesia through seventeen countries. Arrived in Indonesia, in June 2010, he studied two years at the Institute of Indonesian Arts in Central Java.  He discovers the gamelan instruments and collaborates with local artists on contemporary forms, and develops with them a puppet-play entitled  Gaung.

returned to France by air in 2013 to accompany the Theatre de Nuit –French shadow theater- on the staging of  l’Enfant de la Haute Mer. From June to September 2013, he went back to Indonesia to collaborate with the composer Mo’ong on the show-concert called MASQ.

He currently works on the manufacturing of the puppets and the writing of the play L’lologramme brisé which gathers together different artistic disciplines : puppet, painting, music, theatre and installation .

 Júlia Kovács, puppeteer, puppet manufacturer

is Hungarian, born in Budapest in 1982. Her career may have begun thanks to a gift from her grandfather which intrigues her strongly: an authentic Javanese puppet brought from a trip.

Júlia practice throughout her childhood and her adolescence the piano, fine-arts, dance and theater.  She attended schools of experimental methods. After the high school, seeking the path which could combine everything she loves, she discovered that the puppet-art is the perfect medium to create and to travel, to live her life to the fullest.

In 2002 she joined  ESNAM (National School of Puppet Arts) meets excellent puppeteer-teachers, and she graduated  with honors in 2005. Right after the school until 2008, she creates leather masks with her master Francis Debeyre for the Théâtre de la Licorne in Lille, she worked as a puppeteer in the show Perpetuum Mobile of the Théâtre de Nuit, and in parallel, she creates the Théâtre Automne 2085, nomadic company of puppets and  substances, with Arnaud Delicata. Together they create two puppet-plays, the Neighbours and Aperçu, then they left with a van eastward until Indonesia, played their shows on the road, crossing 17 countries. They received a scholarship at ISI Surakarta (Indonesian Institute of Arts) for two years, and collaborated with Indonesian musicians on different projects.

Since November 2012, after returning from this trip which lasted four years, she was on tour during two years with the shadow-play called l’Enfant de la Haute Mer of  Théâtre de Nuit (theater of shadows and figures, France)

her career, Julia has worked on the dimensions of manufacturing (puppets, masks, and various scenic and marionnettiques objects), as well as the interpretation and staging.

Mo’ong composer

was born in Bangok in 1985, he is a composer of experimental classical music. He began his studies with Western classical music with double bass, then he decided to return to his roots to explore the wisdom of Javanese musical tradition. He continued his studies at ISI Surakarta ( Indonesian Institute of Arts ) in the faculty ofcomposition of traditional and contemporary music. He graduated in 2013 with his concert-performance entitled MASQ.

during his studies Mo’ong has been involved in national and international projects of various kinds ( in purely musical projects as well as a composer for several theater shows, puppet-plays, performances ) . While being guitarist in his blues band called Mo’ong and Friends, he also creates electronic music and continues his research on traditional Javanese music and he experiences the contemporary sounds of it.

Hamrin Samad, musician

Was born on the island of Selayar (Sulawesi , Indonesia) in 1973 . His father was a traditional musician who tought him music since his childhood. At the age of nine , he was already accomplished on the Gambuh, a traditional string-instrument of his region. He graduated in the State University of Makassar in 1998 ,the in ISI Surakarta in 2013 (Institute of Indonesian Arts). Between the two, he continued his studies of performing-arts with two masters, Latief Halilintar and Is Hakim, worked in Teater Kita Makassar, and established the Tanah Merah Mouvement of Art in 1991 .

was one of the musicians in the show I La Galigo of the well-known american director Robert Wilson and made an international tour with this show in Singapore, the Netherlands, Barcelona, ‌‌Madrid , Lyon, Ravenna, New York, Australia, Jakarta, Milan, Taiwan and Makassar (2004-2011). He has participated in international festivals : Festival Der Geister (Berlin 1999), Easter Festival in Cape Town (South Africa 2005), Oz Asia Festival in Adelaide and Sydney Opera House (2007), Traditional Festival (Malaysia 2008) and Solo international ethnic music (2010).

He has worked with several national and international artists.

’s works (musics and performances) : Ranting Bulan Sabit (1996), Balada Cinta Anak Laut (1996), Suara Leluhur Masa Datang (1998), 1001 Ziarah Pusara (1999,) Mudik (2000), Wire Of Soul (2003), Gamang (2001), Intembula / Back To Mother’s Lap (2003), Dalam Bayang Balla Bulo (2005), Ketika Tubuh Bernyanyi (2011), Cerita Kecilku (2012) and Tu Pa’biring (2013).

he is music-teacher in the Faculty of Arts and Design at the University of Makassar.

Marine Midy , actress

in Paris in 1986, she studied drama in high school and worked with the company La Rumeur, based in a factory converted in theater. She played in l’Usine Hollander in the shows  Si peu décidés and  Atteintes à sa vie directed by Patrice Bigel . Thus , she discovered dance-theater , the life of a theatre-company, as well as the process of an artistic creation. From there begins a theatrical and academic research on new territories of art, and how to  » play in the city as in a shared theater ». She obtained in 2008 a Master in Conception and Realisation of a Cultural Project via Erasmus in art history at UCL (Belgium). She wrote her dissertation on «of spaces to become venues of artistic creation». Meanwhile, she co-founded the company Terrain Vague, a theater which performs in public spaces. Between 2005 and 2012, she played in all shows and performances of the company working especially around the Utopian Body of M Foucault.

In 2010, she works on the project Snow White with Catherine Bay (Le Banquet at the Pompidou center and Fairy tale and contemporary art  at the Maison de la Culture de Namur, Belgium). She participated in workshops at the National Centre of Circus Arts. She is a performer in Balloon Chain by Robert Bose in Suoedte Festival in Portugal as well as in the Estonian Artists Collective Non Grata in Europe and in the United States. She played in some short films as La Muette of Sophie Chauvet . She discovers the art of puppetry and meets Arnaud and Julia at World Puppet Carnival in 2013 in Indonesia.

Cécile BELLAT aka Liz BASTARD , musician , actress and painter

Born in Rennes in 1971, she studied philosophy and modern literature before looking in more carnal and poetic spheres ( theater and visual arts ) for answers to questions posed by the world where – with a great difficulty –  somehow human stands… Her works of visual installations in the early 2000s then re-feed the initial questions about the intimate, the memory, the universality of sensations, always marked by a constant and necessary practice of music and writing .

obtained in 2001 and 2003 a shcolarship of Rennes City to learn about the practice of Vietnamese lacquer, and she exhibited in France and Vietnam until 2010.

At the same time, she works on photos and videos, eager to experiment tools which allow to throw a shady, fluid and silky veil on the realities of the world, realizing the beyond of the mirror, to reach a metaphysic that she searches permanently by the poetic and musical writing. From there, look at the reality in section, search the multitudes of the possible, the hands in the mud of the world. From there, lift the veils of the reality or the fictional, such as she sees them being tight to each other.

In the field of performing arts, she experimented multiple grounds of the play (acting, directing actors, writing and co-writing, scenography, sound design, assistant to the staging, costumes …)

has also collaborated on numerous occasions with artist-musicians and dancers of the Imperial Court of Hue (Vietnam) with the Company Van Hai Vong. Between 2006 and 2012 her artistic activities are focusing around writing and creating music within the duo Rennes del Cielo (Transmusicales in 2009, Mythos in 2011), and in solo since March 2012 (with Sophie Hunger, Dominique A and Jean- Louis Murat). She has also completed workshops of sound-technic (at Jardin Moderne Rennes ) and lighting (at 6×4 Laval). Finally since 2011 she is interested and learns the disciplines of Indian Kathakali , Carnatic vocal and Kalaripayatt .

Vicki Unggul Bramantyo , Sound Designer

in Bantul, Indonesia, in 1988. He works in his own recording studio as sound designer and sound engineer. He works mainly with electronic music, and on the retouch of  the recordings, but he has been  also interested in world music. He collaborates with Mo’ong since 2008, became one of his musicians, and plays in his compositions. They seek together to find an agreement between  Javanese traditional and electronic music.

Etienne Exbrayat , lighting engineer

Born in 1979 in Paris . Graduated in video and interactive research at ENSAD ( National School of  Applied Arts in Paris ) , he explores various fields of the audiovisual construction : cinematographer , director, filmmaker ,visual artist and lighting designer, thereby he develops an singular approach . He trained with Marie- Hélène Pinon, Dominique Mabileau and Philippe Marioge with whom he has enriched his lines of thought . The light in the center of his research, he is questionning the issues of performing arts whatever is the repository of time and space, whatever is the relationship with the public. He works with Yeux De l’Ouïe, le Cirque Baroque, la Cie Terrain Vague, le collectif BIB, Steven Bachimont, Jacques Châtelet, Jean-Marie Prouvèze.

Davide Grosso, ethnomusicologist, sound designer

 Born in Catania, Italy in 1985

As a musician and sound designer , he has been engaged for years in the research on noise, electronic music and the interaction between human /environment and human /machine. In his academic career, he made his first thesis project entitled : Noise. Manifesto for a new musical futurism . He has participated in various experimental projects always by trying to mix the sound of the stage, the environment and electronic sounds.

2006  Sound performance: Manifesto for a new musical futurism

2007 E.E.C. Contemporary Electronical Existentialism

2008 Meuhmur–Specific Place Performance (Atelier de la Vache Bleue, Paris)  guitar and electronic music

2010 Conception and realization of the live sound track for the puppet-play Gaung of Theatre Autumn 2085.

2010 conception and realization of  Wayang WUTO, mixture of Javanese shadow theater and live audiovisual interaction .

He graduated as ethnomusicologist and he obtained his diploma with a thesis on the musical traditions of the island of Madura (Indonesia).

Very attentive to the promotion of the music and the rights of the musicians, he is a consultant of the International Music Council (UNESCO / Paris ) .

Pascal Laloy, painter

Affiliated with the Maison des Artists in France. Born in 1972 in St Malo, France .

After a Fine Arts License obtained in 1990 , he entered the University of Beaux Arts in Rennes and in parallel , teaches fine arts in different structures. Attracted by a public for whom the artistic creation can turn out essential in the reconstruction of one, he created a workshop of fine arts within a psychiatric hospital in 1999, which last 7 years. Since 2006, he dedicates himself completely to the painting, while collaborating in interdisciplinary artistic projects (theater, music, writing, etc.). Pascal Laloy pursues today his work of painter, anchored in the human figure, by questioning the identity and the absence. His painting is present in of numerous collections of various countries.

Kokok P.Sancoko, painter

Born in Nganjuk East Java in 1974, Kokok studied painting at the Indonesia Institute of the Arts, Yogyakarta (Institut Seni Indonesia). Throughout his artistic practice Kokok has been deeply dedicated to exploring the possibilities of the painting surface through the dissection and intersection of forms and colour, often reducing the image of a concrete object such as an apple or a flower to its most essential planes: in a sense a kind of ‘abstract realism’. In a recent experiment with installation Kokok even attempted to incorporate real human figures within a three-dimensional space into a ‘painting plane’ through the use of a kind of mathematically deduced illusion. In his recent paintings Kokok pushes his explorations further, in an attempt to create a visual, two-dimensional mapping of the multidimensional gradients of the psyche. The juxtaposed images in these atmospheric, gorgeously coloured paintings, rendered in varying degrees of concreteness and translucence, comprise a kind of virtual world of memories, perceptions and impressions of the past, the present and the future.

Francis Auboiron, Glassblower

Francis developed a passion for glass from the young age of 14 when he was introduced to glassblowing at the School Of Arts and Crafts Jean Monnet in Yzeure, France. He further refined his practice under the Master Regis Anchuelo as an apprentice, and later becoming his assistant. Combining his love of travel with his exciting career in glassblowing has led Francis to many places, both around his home country of France and abroad, working with a number of professional glassblowers providing him with a diverse array of different techniques in his field. From the prestigious BACCARAT Art Crystalware centre he crafted skills in high level quality glass production. In Novy vor, Czech Republic, Francis further developed his knowledge of creating traditional and antique glassware along with refining cold working and finishing techniques. Further abroad in New York, USA, Francis was exposed to the more modern art of glass sculpting at a conference and workshop held by the Glass Art Society.  More recently, Francis has been residing and working in Bali and Yogyakarta, Indonesia, collaborating on a few independent projects.

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