Songs

Lucile Richardot, Correspondances & la vie brève

17164

«Any action requires oblivion, like life organic beings requires not only light but also darkness. A man who wants to feel things like that historically we would force them to refrain from sleep or animal should live than ruminate and ruminate endlessly. Therefore, it is possible to live almost without remembering and live happy, as evidenced by the animal, but it is still impossible to live without forgetting. »

Friedrich Nietzsche

We must imagine a place that would not be our reality, a fault on the bowels of our world: an orchestra that has lost the notion of time, plays continuously in a breakage of musical instruments. We must imagine a woman, who sings in English pieces of music of the 17th century that are unknown to us and that will search the melancholy, sadness and sorrows – love most often. This music and song play uninterruptedly so that our sorrows diminish, life remains livable and we record our sorrows.

In the style of a small antique choir, the orchestra and two singers populate and operate this great melancholy machinery. They will make the woman’s descent “in herself” tangible and material. The orchestra will also be the scenography of this show, in the middle of a quantity of musical instruments infinitely superior: rubble of instruments working or not, that we do not know or broken, diverted, cut in half. A real ‘Baroque breakage’, a Parnassus turned upside down.

One day another woman arrives. She claims her pain, refuses to forget, wants to keep her pains sharp. She comes to take her property and prevent it from escaping into oblivion. Will she succeed? Here, a certain order is at work and the oblivion is well kept.

Samuel Achache

STAGED BY SAMUEL ACHACHE

Copyright 2017 Ensemble Correspondances - Tous droits réservés

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