La parole chanceuse
performance
20', 2015 - 2016.
Creation in framework of program Prototype II " the vocal presence in choreographic score", Fondation Royaumont during Fenêtre(s) sur cours.
Concept, text and perform : Myriam Pruvot.
Dramaturgy : Céline Cartillier.
Base on a text La parole chanceuse by Marguerite Duras in La vie matérielle
and a speech Rumble in the Jungle of Mohamed Ali.
Residency : La Bellone, Pianofabriek, Kustencentrum BUDA.
How to make the body and a speech audible on stage?
What can the effects of its emergence be?
The proposition enlightens the visibility of the sound gesture and more particularly of the vocal gesture. Using martial rituals references, this scheme also puts into question the position of the talking subject, its presence and its gender. A lucky word for a struggle to come. The stake would then be to imagine an action which moves the spectator to surreptitiously draw his listening on the speech - There is something to be seen, but this is not the subject of the performance, the subject is what is to be heard. The content of the speech would be mainly improvised, although largely based on a precise pattern (in english and french).We can therefore imagine two heterogeneous moments living together through the performance. The time for a rigorous and succinct action without any other dramatic effect than the one of reaching a goal, and on the other hand, the speech and the voice would evolve in a musical moment, in search of a groove, playing with different tempos and volumes, on the lookout for silence.
