CNSMDP Salle d'ART LYRIQUE

REMY PFLIMLIN

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10/10/2018

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Program and Scenography

Louis Siracusa

Antonin le Faure

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Reciter

Paul-Alexandre Dubois

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Viola

Antonin le Faure

Percussions

Jean-Baptiste Bonnard

Harp

Maëlle Martin

Doublebass

Louis Siracusa

The making of this program and scenography was very demanding, the main issue is that the poems are in Italian for a french public, and we didn’t want any pauses during the performance to change the set.

I decided that the construction would be according to strong principles : every instrument must play three times with three aspects of their sensibility displayed. The scenography is based on the written requirements of Scelsi. The curtain the musicians play behind is transparent, it serves as a screen for the projections of the translation, and also as a wall between two worlds. The audience can sometimes view simultaneously the foreground and the background.

The trinity of the three musicians of Okanagon develops into a trinity of huge white lines, serving as a support for the translations.

One can observe a bit of the déroulé as it's proposed before the first stage rehearsals.

This project is the second version of the Sentimento Del Tempo Project, which started in a small theater in march 2017, with another  instrumentation, trumpet, double bass, and viola. Duos from Berio's violins duos where adapted for the unusual trio. The pieces were only solo pieces, from Maderna, Fedele, Berio and Sciarrino.

This second version as been proposed as my artist diploma project in the main hall of the Paris Conservatory.

Quatre Corps en Quête d'Auteur was a project I joined just after starting my master’s at CNSMDP, it consisted of  four composers, a saxophonist, two dancers and myself. It was my first full scale contemporary project as a soloist. The project was collaborative, we all took part in the making of the scenography. The conservatory gave us the opportunity to stay in residency for five days in Fleuret hall, the venue where we performed the concert. We had the time to devise the interactions between musicians and dancers, and measure the scenic implications of our choreography. It was a real explorations of the limits of physicality between dancers and musicians.

The four pieces were all quite distinct: Florent Caron-Darras worked on field recordings, Carlos de Castellarnau created a more traditional piece, Guillaume Hermen and Aurélien Maestracci imagined pieces with corporality as their main focus. Maestracci's piece was in three parts and very theatrical. Hermen worked on a minimalist display of close-up films, mixing the precision of exact repetition on a screen and the physicality of the four performers.

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It was an intense experience for me, and it has helped to shape my work ethic and attention to detail for my present projects.