{"id":2049,"date":"2017-02-20T22:49:00","date_gmt":"2017-02-20T21:49:00","guid":{"rendered":"http:\/\/omnivion.net\/core\/projets\/projets-artistiques\/newtopia-3\/praxagora-nu-copy\/"},"modified":"2023-01-18T19:39:10","modified_gmt":"2023-01-18T18:39:10","slug":"desinforme","status":"publish","type":"page","link":"https:\/\/omnivion.net\/core\/fr\/projets\/projets-artistiques\/newtopia-4\/desinforme\/","title":{"rendered":"Forme-D\u00e9(sin)forme (2017)"},"content":{"rendered":"

\"\"<\/a>

Photo par D.Tsiapkinis<\/p><\/div><\/p>\n

\u00a0<\/strong><\/p>\n

Forme-D\u00e9(sin)forme (2017)<\/h2>\n

Pi\u00e8ce de danse-th\u00e9\u00e2tre faisant partie de l’\u00e9v\u00e9nement Newtopia 4.4<\/a><\/strong>.
\nPr\u00e9sent\u00e9e le 17 mai 2017, \u00e0 la Pl\u00e9iade,\u00a0154 rue de la Mairie,\u00a037520 La Riche.<\/strong><\/p>\n

Conception \/ direction<\/em><\/strong> : Dimitri Tsiapkinis
\nAssistante \u00e0 la chor\u00e9graphie\u00a0:<\/strong> Ahlam Ettamri<\/em><\/p>\n

Co-auteurs \u2013 Interpr\u00e8tes<\/em><\/strong>\u00a0: Emilie Coud\u00e8re, Bruno Morin, Rosa Pires de Matos, Keely Sigot, Dimitri Tsiapkinis <\/em><\/p>\n

Musique<\/strong> :\u00a0Keely Sigot<\/em><\/p>\n

Eclairage\/r\u00e9gie technique :<\/strong> Marine POURQUI\u00c9 \/ Dur\u00e9e\u00a0<\/em><\/strong>: ~ 40 min<\/em><\/p>\n

Vid\u00e9o-teaser : vimeo.com\/787170824<\/a>
\n<\/strong><\/p>\n


\nConcept g\u00e9n\u00e9ral\u00a0:<\/strong><\/p>\n

Sans ordre rien ne peut exister. Sans chaos rien ne peut \u00e9voluer. \/ <\/em>Auteur inconnu.<\/p>\n

\u00ab Forme-d\u00e9(sin)forme \u00bb est une performance dans\u00e9e, n\u00e9e de la collaboration entre danseurs professionnels et amateurs, en collaboration avec le CHRU de Tours (service psychiatrie). Il s\u2019agit de traverser de th\u00e8mes d\u2019improvisation li\u00e9s \u00e0 la relation \u00e0 l\u2019autre, et au rapport entre groupe et individu, dans un croisement d\u2019expressivit\u00e9s au sein d\u2019un groupe h\u00e9t\u00e9rog\u00e8ne.
\n\u00ab \u2026un jeu de tensions, d\u2019explorations chor\u00e9graphiques inspir\u00e9e des \u00e9lans cr\u00e9atrices des participants et qui interrogent le vivre \u2013 ensemble en communaut\u00e9. \u00bb<\/p>\n

Le cadre, la forme, la norme\u00a0: approchons-nous une \u00e9poque o\u00f9 le chaos serrait in\u00e9vitable\u00a0? Une d\u00e9sint\u00e9gration des anciennes formes qui donne la place \u00e0 des nouveaux paradigmes\u00a0?<\/p>\n

Encore un exercice d\u2019\u00e9criture de plateau <\/strong><\/em>[1]<\/a>\u00a0de l\u2019\u00e9quipe Omnivion dans le contexte de Newtopia \/ danse et sant\u00e9 mentale. Le sc\u00e9nario se construit avec la participation active des interpr\u00e8tes et ce pendant les r\u00e9p\u00e9titions. Dans ce sens, le sc\u00e9nario n\u2019est pas pr\u00e9existant, m\u00eame si les lois du march\u00e9 culturel nous imposent un concept pr\u00e9d\u00e9fini. Depuis sa premi\u00e8re cr\u00e9ation Ex-Gudrun (1992), Dimitri Tsiapkinis cherche \u00e0 sublimer l\u2019exp\u00e9rience intime de l\u2019interpr\u00e8te et la transformer en \u00ab\u00a0objet esth\u00e9tique\u00a0\u00bb, tout en la mettant en lien avec l\u2019actualit\u00e9 socio-politique. Le medium dans notre cas c\u2019est le spectacle vivant\u00a0: danse, chant et th\u00e9\u00e2tre. Sur sc\u00e8ne, des artistes professionnels et amateurs, s\u2019interrogent sur des urgences actuelles de nos soci\u00e9t\u00e9s en mutation.<\/p>\n

D\u00e9former nos mani\u00e9rismes, nos a priori, nos id\u00e9es re\u00e7us pour nourrir des nouveaux possibles. S\u2019\u00e9chapper aux manipulations m\u00e9diatiques g\u00e9n\u00e9ralis\u00e9es depuis la 2\u00e8me<\/sup> guerre mondiale. Il semble que, dans les pays des Lumi\u00e8res, 80% des m\u00e9dias appartiennent \u00e0 des marchands d\u2019armes et que nous travaillons tous pour enrichir quelques \u00e9lites. La d\u00e9sillusion face aux pouvoirs publics est omnipr\u00e9sente. Des mouvements citoyens se multiplient. R\u00e9apprendre \u00e0 discerner les valeurs derri\u00e8re les flux vertigineux d\u2019information, devient plus qu\u2019urgent. Quel corps, quelle danse, quelle forme donner \u00e0 nos aspirations pour un monde meilleur aujourd\u2019hui\u00a0?<\/p>\n

M\u00e9thodes de composition : devised theater, fluxus et improvisation.<\/p>\n

<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<\/p>\n

[1]<\/a> \u00ab\u00a0La pratique de l\u2019\u00e9criture de plateau ne diff\u00e8re pas fondamentalement de celle que les Britanniques nomment \u00e0 pr\u00e9sent devised theatre, un th\u00e9\u00e2tre fabriqu\u00e9 \u00e0 plusieurs sans distinction nette entre acteur, metteur en sc\u00e8ne, dramaturge, sc\u00e9nographe, etc., un th\u00e9\u00e2tre non pas tant de cr\u00e9ation collective (comme dans les ann\u00e9es 1960 et 1970) que de collaboration inter-artistique refusant les trop grandes sp\u00e9cialisations.\u00a0\u00bb (Pavis 2014\u00a0: 77)<\/p>\n

 <\/p>\n

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\u00a0 Forme-D\u00e9(sin)forme (2017) Pi\u00e8ce de danse-th\u00e9\u00e2tre faisant partie de l’\u00e9v\u00e9nement Newtopia 4.4. 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