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daily chronicle

A body of it’s own

 monday, 18th June

And on the first day of the second week (monday, the 18th June), TryAngle Marseille enters a new phase of research.

It is a sunny day. After the participated ‘Market’ where ideas and needs for the experiments are negotiated, Simon Rummel is moving an old piano outside the theatre of Gare Franche. First it went through the labyrinth of chairs and tables in the mezzanine. And for now stands in the entry of Gare Franche waiting for his ‘Piano Proposition’ . Yanniv Cohen, with the precious help of Hakim Bouaita, constructs a wood box to project his study on intimacy, ‘Peeping’. Soledad Zarka continues with the experiment on stage with body and sound, ‘Sound Scenography’, while Dani Brown crosses Marseille everyday, from the north – in Saint Antoine where Gare Franche is located – to go to the centre and work on her solo in Théâtre des Bernardines. Ema Dei keeps working in ‘Ema’s Voice’, a video recording of theatrical interpretation – whether more dance or free body expression, with a kind of expressionist quality – of her music. Jorge Andrade is still developing the fiction biography of his marseillese origins, and is starting a collaboration between music and text with Simon Rummel. The duet is in the phase of just talking about the possibilities of it. Marcia Lança continues escaping to the back garden in Gare Franche, where she has individual talks with artists she invites to exchange ideas about her new creation, which is in it’s very beginning, in the exact moment of exploring possibilities and the emergence of meaning.

But then, there are some curious trends that are emerging, such as the series of meetings that some artists requested with the people that were collaborating with them. This created a busy schedule of utilization of the garden for artistic working meetings in la Gare Franche. Willy Prager and Gaël L. in the morning and Miguel Pereira in the afternoon. This implicated the dislocation of the centre of action, to a certain extent, from the stage to the garden. The other curious tendency, that became evident only in the middle of the lab (this same monday), is the use of technology, the necessity to resort to mastery of new media language, or going from live experimentation to the moment of edition for preparing the technical structure for a project to go to another level.

It is all part of a living project, collective in it’s essence, that breathes in different rhythms and times. And is part of the nature of a project that is questioning itself and testing itself while it is happening. It is in this context also that something unexpected and unimaginable might happen. And it may just occur that someone is in a process of investigating in one direction (as Kostas Koutsolelos has been doing with his “Stillness” project) but then, by mere accident, there is a banal gesture or a simple displacement of an object that may bring to light a all different possibility of experiment. And this was precisely the case of Kostas.

At the margin of the negotiated and scheduled program, with the stage of La Gare Franche unoccupied in the middle of the afternoon, just in the process of preparing the technical conditions for Tzeni Argyriou experiment her work, Kostas simply took a strange and a bit destroyed doll, with some destorted human silhouette, a kind of child in it’s height, that was in the mezzanine and brought it to the middle of the stage. And then he left, to sit in front of it in the audience. And for a moment, Kostas stayed there, in stillness and silence, looking at that strange configuration of the human body, without a face or harms, that was facing him, alone in the empty frame of theatre.

Odile Darbeley was there doing her things. And Kostas asked her to play with that body as it were her own. And she did. Tried to give it her face and arms. And then came Soledad Zarka, and she also experimented the embodiment of that touching but damaged body. In the audience, there was Mireille Guerre – co/director of Theatre des Bernardines, one of the co/organisers of TryAngle, and actress and stage director. in the fraction of an instant, also Mireille was involved in the experiment, physically involved. Suddenly there was a challenge for the body that in a way already was in TryAngle, but in this circumstances became evident. It is the question of how to relate with a different body from it’s own, a body with a strange configuration if looked from the perspective of ‘the other’. A body that could be symbolised by the child size doll, but that could also be the metaphor for TryAngle experience.

By chance, the four came together with a common interest, that can be clarified in the words of Mireille while explaining what she has been working on stage: “I work on bodies that aren’t mine”. And in this sentence there is an immense world. And this is just a small part of TryAngle, in the beginning of it’s second week.