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SIMON RUMMEL; MARKO MILIC SIMON RUMMEL; MARKO MILIC

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Saturday, June 9, 2012

Warm up

First day of Try Angle

They came from Haiti, Germany, Belgium, Romania, Greece, Serbia, Norway, Portugal, France, Bulgaria or Israel. They came from dance, theatre, visual arts, performance, music or something other than these, with no precise definition. They arrived by plane, train or car. And one by one, they were meeting one another in open air, in a garden with tables, wine and food, facing a nostalgic facade of an old building that houses a theatre project, also known as Gare Frenche, with an ensemble of artists called Cosmos Kolej, directed by Wladyslaw Znorko. They heard each other’s names and asked about what they did. And they tried to find the words that matched with justice who they are and what they feel. Even when who they are and what they feel resists on being reduced to a name, category or definition. Then they moved into silence and were touched by the warm words of Znorko, welcoming them and appealing to an art founded in boldness and in friendship. At that moment, the conversation went by, natural, informal…

The next morning, they woke up for a second moment of encounter. They returned to the same place, at the entree of that sweet melancholic house of theatre, for the reunion of the group. They walked through the path of leaves, grass and stones to arrive to the big old factory transformed into a theatre space. There they met formally for the first time. As if in a ritual of initiation, they performed the expected tasks. One by one, they spoke for everyone else to hear. And one by one, they answered Thomas Fourneau’s question about who they were and about their wishes and dreams concerning this lab.

Yaniv Cohen told about the passion for dancing, and the photos and videos he does. He told about his professional work as a dancer in Norway, and his israeli roots. He told about the importance of meeting other people and the possibilities the meeting can open for projects to come. He shared that he has ideas he wants to turn into practice and the will to get better in what he does.

Marion Lubat presented herself as an actress that also does video. She recalled the classical training she has in theatre in time, the present, when she feels it is not enough. She then told that this desire for more and for something different comes with the people she wants to meet and the other practices she wants to discover.

Gaël Lemouton positioned himself between theatre, digital art and performance, but having the body in the centre of the art he creates. With Marion he shares the wish to learn new ways of working.

Louisna Laurent told about her story and the struggle to professionalize theatre art in Haiti, where she comes from. She then went on about the search for a balance between what she must do for gain a living, which must be outside the arts world and somewhere in law and politics, and what she does for passion, art.

Agnes Verrier talked about painting as a solitary practice, even when she comes from a culture of collective creation and transdisciplinarity.

Odile Darbelley evoked her life/love/art project in partnership with Michel Jacqueline to remember the place art has in society, regardless it materialises through writing, performance or an exhibition. In the heart of this approach to creation she told about the role of the audience and the permanent question about where and in which way does the artist positions the public in relation to the art proposal.

Jorgen Knudsen went back to the times when he was a scientist, studying microbiology and how he went from there to educate himself in the science of theatre. He told about that world – the science of theatre – which he explores in different approaches, from post-dramatic theatre to make a living as a music composer and director of a performing arts festival. Somewhere in between all this, there is the artificial wale he is constructing in order to catch the krill they eat, in an alternative way different from the traditional one.

Dannielle Brown came with questions, alongside a research she is doing for her first solo performance. Questions about the theatre as ritual, the potential of the relation it provides…

Kostas Koytsolelos told about doing theatre in Greece. About directing theatre. About being bored of using text and about the search for silence on stage. He shared the wish to experiment in a safe environment, to defy the limits, and to be able to try and fail.

Simon Rummel brought music to TryAngle. His voice spoke of the collaboration between professional and non professional musicians. He told of an experience as a composer and improviser, but also as working with dancers and different stage arts.

Jorge Andrade remembered the years he was an actor, and remembered being bored of doing that. He then went on telling the story of becoming a stage director and creating his own projects in Portugal. He expressed the thought of directing in the way he thinks he knows how to and the wish to work with new and different people.

Raphaelle Blancherie said she was an actress, and now she is a psychologist who directs artists, does video, music and writing. And she went on saying she wants to ask questions, questions about art and society.

Willy Prager started by positioning himself in the language of contemporary dance and performance, coming from a background of theatre, as an actor. From here he went to present briefly the project of creating a fashion collection of underwear inspired by Arab Spring.

Marko Milic said the unexpected when he announced he was fed up with the concept that the artist is free to do whatever he wants, which he practiced and tried. And now he says he is interested in the idea of final product or of what can be considered finished in the art field.

Miguel Pereira told about his bartleby’s syndrome (always working in crisis, wanting to do and doing but, at the same time, not wanting to do and questioning what he is doing), returned to the body as the centre of his creative work, and invoked the human behaviour and the way people deal with exposure as examples of his interest in the idea of show, the idea of presentation of a performance work.

Soledad Zarka went back to the discourse of intimacy, the small scale of performance art, coming from contemporary dance and improvisation. She told the story of breaking down with dance, and returning to it through the intervention of friends. She also spoke about observing the dance of people who are not dancers, specially old women, and the particular interest in everybody who usually is far from the horizon of the normal eye and are not looked at.

Ema Dei presented herself as the representative of Marseille. She told of being a romanian gipsy that lives in Marseille, studying plastic arts and working in dance and music. She told about art that expresses feelings and the luxury of being in TryAngle, a free space to experiment and turn imagination into reality. And then, she just said it was nice to meet everybody and “let’s start something together”.

They went back to the entree facing the nostalgic facade of the old house. They had lunch and prepared for an afternoon discovering Marseille. And while they walked the streets and while they talked and they told other stories about themselves, they were already starting something together…