23 October - 14 November 2006 at Les Subsistances
Performances
9 - 14 November 2006 at 8pm (No performances on the 12th)
Prices: €10 / €8 / €6 or 2 Su tickets
Social Gatherings
- Soupe à la répèt’ : 30 October 2006 at 7:30pm
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First production / Dance-circus
Jean-Baptiste André association W « comme en plein jour » 9-14 november 2006 Jean-Baptiste André is a talented young artist who presents a smart mix of circus, dance, digital art and visual art. His work always revolves around the perception we have of the body: our own, and other people’s. What do they say that we don’t understand? How do you cast off or transform an appearance that doesn’t show one’s essence? André is an acrobat and a dancer who uses his physical prowess to overexpose the body and withhold gravity. The body has no reference point, it is given to raw emotion, thought, and projections. Following Intérieur Nuit_*, André will be developing Comme en plein jour together with a video-maker and a musician. In the heart of this work is a research on the notion of a “metamorphic body” that attempts to transform under the heat, the clarity and the pressure of  being exposed to the scrutiny of others, in order to show its true structure.
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Residence
23 October - 14 November 2006 at Les Subsistances  Intérieur nuit_ was a play about solitude. As you are now working with other artists, will Comme En Plein Jour be about the opposite? I think the topic of solitude was an underlying notion. “Intérieur Nuit_” was my first production, and the logical continuation of my training at the CNAC. It came from work I was doing on the notion of balance, a research project I had started there. The idea of solitude has appeared out of the blue, unexpectedly, and without my knowing. At that time, it is true that I was focused on my work to the point of obsession; I always had to do more. “Intérieur Nuit_” examined the issue of how to show or to project oneself. I worked together with a composer and a lighting engineer, as a tripod. Comme en plein jour immediately highlights the notion of collaboration as a goal of the project. I toured a lot with my first play, I worked with foreign artists and as time went by I wanted to perform and play a part in my own work but also in other people’s work within the project. We have been working on it for a month and a half now and Karim Zeriahen, the video-maker, has been able to use some ideas he had been thinking about for three or four years. I have contacted the musician, Tony Chauvin (Perceval Music), because I was very interested in his work. On some level, I feel like taking a step back and act as a sounding board so that all three of us achieve our goals with this project. You use words like metamorphosis, metamorphic... Does this mean that in your opinion, being exposed to others’ scrutiny allows you to affect and change permanently what could be your internal structure? La métamorphose va dans les deux sens. The performer, whether he is a dancer, a circus artist or something else, sends signals to the audience, which sends back signals that produce a transformation.With “Intérieur Nuit_”, I consciously worked on the metamorphoses of the body, which created metaphors, and different positions of the arms successively evoked a cross, a ballerina... I centred my research on the idea that these recognisable positions would become a language. However, when the audience sees these signals, their scrutiny changes us and brings about situations that we didn’t know existed. Suddenly, performing for others is attempting to understand how other people’s perception of you can make you disappear, and take you out of your own skin. Comme en plein jour revolves around these situations. I am attempting to shift towards a body that exists “in spite of itself”, a lost body that acts outside of you and therefore modifies your inside state. During the first working stage with Michel Cerda, who helps me with the directing side, we started to work on this. When I say I go out looking for a state outside of me, it is impossible for me to find. You have to work on other areas, realise that you have to take detours to achieve this state, that you have been affected by something, submerged. That’s where the metamorphic comes about, in this immobility or this turmoil, somewhere outside of ourselves.  During his time at the Centre National des Arts du Cirque, Jean-Baptiste André specialised in hand balancing acts and clowning and started getting involved in projects with various directors, choreographers, musicians, and visual artists. In 2002, he founded the association [W] and started to look into new technologies and visual arts. Following several short productions, he produced “Intérieur Nuit_” and performed in plays by Philippe Découflé and Christian Rizzo. Awarded the grant Villa Médicis Hors les Murs of AFAA in 2005. André is now an associate artist of Manège de Reims for the next two years.  “The work is guided by the persistent will to search for the body’s limits, its modifications, in order for the metaphor of action to seep through. We want to visit body states, court risk, and search for a presence on the edge. These axioms come from raising a psychological question: how do we get to be manipulated by our own body? How do certain states submerge us, overtake us?” Jean-Baptiste André.  All in french Save the interview audio file See the flyer See the poster See the program  Original idea, layout, performance: Jean-Baptiste André.  Produced by association [W]. Coproduced by: Les Subsistances / Lyon / |
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