{"id":43,"date":"2019-09-25T14:05:27","date_gmt":"2019-09-25T14:05:27","guid":{"rendered":"https:\/\/cie7273.com\/nouveausite2019\/?post_type=project&p=43"},"modified":"2025-09-15T10:38:54","modified_gmt":"2025-09-15T10:38:54","slug":"lai-lai-lai-lai","status":"publish","type":"project","link":"https:\/\/archives2025.cie7273.com\/en\/project\/lai-lai-lai-lai\/","title":{"rendered":"","raw":""},"content":{"rendered":"

The project originated from the company’s desire to experiment and go beyond their field by venturing into musical composition and song. They wanted to distort, to become gauche and to maintain a form of innocence as the regenerative principle of creation. Here they follow the example of Henri Michaux, whose work as a painter filled in the inadequacies of poetic language : \u201cIt is because they have liberated me from words, those clinging partners, that my drawings soar upwards and are almost joyful. And so I see a new idiom in them that turns its back on the verbal and liberators”.*<\/h4>\n
\n

However liberating, this desire to go beyond the boundaries of the original discipline is the starting point for a piece that reasserts the formal power of separation in its construction and the division from an absolute that appears to be lost. It is from this lucidity, tinged with nostalgia, that creation flows. Division is posited as an aesthetic principle opening the way to a questioning and to play.
\nIt starts with folk music, an original composition for guitar and voice performed live by\u00a0 Nicolas Cantillon\u00a0and sung by him in a kind of gibberish, committed as he is to keeping a good distance from the likes of a \u201csinger with a message\u201d. Buttoned up tight in his sixties costume, Nicolas Cantillon is the mediator with another world, a kind of Lynchian go-between. He is akin to a shaman whose chants summon ghosts and returning spirits. He is outside, in the half-light, stranded on a shore in the night, facing the mental space represented by the white rectangle of the carpet on which three creatures frolic. The white carpet seems to float over the abyss ; it is a blank page on which a story can unfold, an “ordinary place” surrounded by a void.<\/p>\n

In this setting, the function of the shaman-musician is to open a window onto a beyond, while remaining within the space of the counterstory, which is also that of the audience.<\/p>\n

The scene is a product of the forces that come together there.\u00a0Laurence Yadi,\u00a0a childlike figure in a check shirt and “working-class” dungarees, R\u00e9gis Marduel in a white bear costume, and Alexandre Joly wearing a homespun dress with her head covered in peacock feathers play three hieroglyphs, three intermediary creatures, three monstrous representatives of a forgotten territory. Such is the psychological power of the costume, which achieves a kind of return to the origins, as dreams do. Each in his or her way is the wearer of a mask that can be felt to cover an absence. Images, pure images. They play at criss crossing one another ; they express emotions and affects ; they whisper secrets ; they turn like dolls in a musical box, turning as the turntable at the shaman-musician’s feet also turns, in a desire for circularity in unison, together and separately, like the stars in a galaxy. Reduced to the expression of a circle that is endlessly renewed and charged with animal energy, this turntable evokes a rite of communication, a point of intersection between the whiteness and the shadows, here and elsewhere, the human and the non-human, the other and the self, the other in oneself.
\nOn the carpet, the movements, with much crawling and walking, are dominated by contact dancing. The characters form a trio with variable alignment, at the heart of which is Laurence Yadi. Centre of attention and instigator of the movements, she is the focal point through which the figures are made and unmade in subtle combinations that reveal an impossible symmetry and a programmed dispersion.
\nElsewhere, in the distance, come echoes of a parallel life : a barking dog, the sound of a hunting horn, a chant that evokes the sound of crickets; parallel worlds, soon to be closed by the will of the shaman-musician, plunging the stage into darkness and the retinal persistence of an inhabited abyss.
\nThe piece seeks to delimit the contours of the planes that it juxtaposes ; it does not indulge in trickery and it does not seek to offer consolation. While it distils a primitive, pre-reflexive atmosphere, bathing the spectator in a state of dream-like consciousness,\u00a0it also speaks of another world, indeed withdrawn, but still bound up with this world. La\u00ef la\u00ef la\u00ef la\u00ef<\/strong> plays on separation and otherness ; without abolishing them, it reassembles space to bring forth unity.<\/p>\n

Graziella Jouan<\/strong><\/p>\n

*Henri Michaux, Mouvements<\/em><\/p>\n<\/div>\n","protected":false,"raw":"

The project originated from the company's desire to experiment and go beyond their field by venturing into musical composition and song. They wanted to distort, to become gauche and to maintain a form of innocence as the regenerative principle of creation. Here they follow the example of Henri Michaux, whose work as a painter filled in the inadequacies of poetic language : \u201cIt is because they have liberated me from words, those clinging partners, that my drawings soar upwards and are almost joyful. And so I see a new idiom in them that turns its back on the verbal and liberators\".*<\/h4>\r\n
\r\n\r\nHowever liberating, this desire to go beyond the boundaries of the original discipline is the starting point for a piece that reasserts the formal power of separation in its construction and the division from an absolute that appears to be lost. It is from this lucidity, tinged with nostalgia, that creation flows. Division is posited as an aesthetic principle opening the way to a questioning and to play.\r\nIt starts with folk music, an original composition for guitar and voice performed live by\u00a0 Nicolas Cantillon\u00a0and sung by him in a kind of gibberish, committed as he is to keeping a good distance from the likes of a \u201csinger with a message\u201d. Buttoned up tight in his sixties costume, Nicolas Cantillon is the mediator with another world, a kind of Lynchian go-between. He is akin to a shaman whose chants summon ghosts and returning spirits. He is outside, in the half-light, stranded on a shore in the night, facing the mental space represented by the white rectangle of the carpet on which three creatures frolic. The white carpet seems to float over the abyss ; it is a blank page on which a story can unfold, an \"ordinary place\" surrounded by a void.\r\n\r\nIn this setting, the function of the shaman-musician is to open a window onto a beyond, while remaining within the space of the counterstory, which is also that of the audience.\r\n\r\nThe scene is a product of the forces that come together there.\u00a0Laurence Yadi,\u00a0a childlike figure in a check shirt and \"working-class\" dungarees, R\u00e9gis Marduel in a white bear costume, and Alexandre Joly wearing a homespun dress with her head covered in peacock feathers play three hieroglyphs, three intermediary creatures, three monstrous representatives of a forgotten territory. Such is the psychological power of the costume, which achieves a kind of return to the origins, as dreams do. Each in his or her way is the wearer of a mask that can be felt to cover an absence. Images, pure images. They play at criss crossing one another ; they express emotions and affects ; they whisper secrets ; they turn like dolls in a musical box, turning as the turntable at the shaman-musician's feet also turns, in a desire for circularity in unison, together and separately, like the stars in a galaxy. Reduced to the expression of a circle that is endlessly renewed and charged with animal energy, this turntable evokes a rite of communication, a point of intersection between the whiteness and the shadows, here and elsewhere, the human and the non-human, the other and the self, the other in oneself.\r\nOn the carpet, the movements, with much crawling and walking, are dominated by contact dancing. The characters form a trio with variable alignment, at the heart of which is Laurence Yadi. Centre of attention and instigator of the movements, she is the focal point through which the figures are made and unmade in subtle combinations that reveal an impossible symmetry and a programmed dispersion.\r\nElsewhere, in the distance, come echoes of a parallel life : a barking dog, the sound of a hunting horn, a chant that evokes the sound of crickets; parallel worlds, soon to be closed by the will of the shaman-musician, plunging the stage into darkness and the retinal persistence of an inhabited abyss.\r\nThe piece seeks to delimit the contours of the planes that it juxtaposes ; it does not indulge in trickery and it does not seek to offer consolation. While it distils a primitive, pre-reflexive atmosphere, bathing the spectator in a state of dream-like consciousness,\u00a0it also speaks of another world, indeed withdrawn, but still bound up with this world. La\u00ef la\u00ef la\u00ef la\u00ef<\/strong> plays on separation and otherness ; without abolishing them, it reassembles space to bring forth unity.\r\n

Graziella Jouan<\/strong><\/p>\r\n

*Henri Michaux, Mouvements<\/em><\/p>\r\n\r\n<\/div>"},"parent":0,"menu_order":25,"template":"","meta":{"_fr_post_content":"

A l\u2019origine du projet, on trouve une aspiration de la compagnie \u00e0 s\u2019\u00e9prouver, \u00e0 sortir de sa sp\u00e9cialit\u00e9 pour se risquer \u00e0 la composition musicale et au chant. Une volont\u00e9 de se \u00abgauchir\u00bb, de devenir \u00abgauche\u00bb, de revendiquer une forme d\u2019innocence comme principe r\u00e9g\u00e9n\u00e9rateur de la cr\u00e9ation. A l\u2019instar d\u2019un Henri Michaux dont la pratique de peintre vient compl\u00e9ter les insuffisances du langage po\u00e9tique : \u00abC\u2019est pour m\u2019avoir lib\u00e9r\u00e9 des mots, ces collants partenaires, que les dessins sont \u00e9lanc\u00e9s et presque joyeux. Aussi vois-je en eux, nouveau langage, tournant le dos au verbal, des lib\u00e9rateurs\u00bb*.<\/h4>\r\n
\r\n

Pour lib\u00e9ratrice qu\u2019elle soit, cette volont\u00e9 d\u2019outrepasser les limites de sa discipline originelle, est \u00e0 la source d\u2019une pi\u00e8ce qui r\u00e9affirme dans sa construction le pouvoir formel de la s\u00e9paration, de la division d\u2019avec un absolu qui se donne \u00e0 voir comme perdu. Et c\u2019est de cette lucidit\u00e9 empreinte de nostalgie que proc\u00e8de la cr\u00e9ation. La division est pos\u00e9e comme principe esth\u00e9tique qui autorise une interrogation et surtout un jeu.<\/p>\r\n

A commencer par la musique folk, composition originale \u00e0 la guitare jou\u00e9e \u00ablive\u00bb par\u00a0Nicolas Cantillon\u00a0et chant\u00e9e par lui en \u00abyaourt\u00bb, selon un parti pris de distanciation avec la posture du \u00abchanteur \u00e0 message\u00bb. Sangl\u00e9 dans son costume sixties, Nicolas Cantillon est l\u2019intercesseur d\u2019un autre monde, sorte de passeur Lynch\u00e9en. Il s\u2019apparente \u00e0 un chaman dont la psalmodie fait appara\u00eetre des revenants, les bien-nomm\u00e9s. Il est au dehors, dans la p\u00e9nombre, \u00e9chou\u00e9 sur une rive nocturne face \u00e0 l\u2019espace mental repr\u00e9sent\u00e9 par le rectangle blanc du tapis sur lequel s\u2019\u00e9battent trois cr\u00e9atures. Ce tapis blanc semble flotter au dessus de l\u2019ab\u00eeme, il est une page blanche o\u00f9 peut se d\u00e9ployer une fiction, un \u00ablieu commun\u00bb cern\u00e9 de vide.<\/p>\r\n

Dans ce dispositif, la fonction du musicien-chaman consiste \u00e0 ouvrir une br\u00e8che sur un au-del\u00e0, tout en demeurant dans l\u2019espace de la contre-fiction, qui est aussi celui du spectateur.<\/p>\r\n

La sc\u00e8ne est un effet des forces qui s\u2019y conjuguent. Laurence Yadi, figure enfantine en chemise \u00e0 carreaux et salopette, R\u00e9gis Marduel en ours blanc et Alexandre Joly en robe de bure et t\u00eate en plumes de paon incarnent trois hi\u00e9roglyphes, trois cr\u00e9atures interm\u00e9diaires, trois repr\u00e9sentants monstrueux d\u2019un territoire oubli\u00e9: puissance psychologique du costume qui accomplit une sorte de retour aux origines, \u00e0 la mani\u00e8re du r\u00eave. Chacun \u00e0 sa fa\u00e7on est porteur d\u2019un masque dont on pressent qu\u2019il recouvre une absence ; images, pures images qui jouent \u00e0 se traverser, \u00e0 exprimer des \u00e9motions et des affects, \u00e0 chuchoter des secrets, \u00e0 tourner sur elles-m\u00eames comme des poup\u00e9es \u00e0 l\u2019int\u00e9rieur d\u2019 une bo\u00eete \u00e0 musique, \u00e0 tourner comme tourne la platine au pied du musicien-chaman, d\u00e9sir de circularit\u00e9 \u00e0 l\u2019unisson, ensemble et s\u00e9par\u00e9s, comme les astres d\u2019une galaxie. R\u00e9duite \u00e0 l\u2019expression d\u2019un cercle infiniment renouvel\u00e9 et charg\u00e9e d\u2019une \u00e9nergie animale, cette platine participe d\u2019un rite de communication, lieu de croisement entre blancheur et t\u00e9n\u00e8bres, l\u2019ici et l\u2019ailleurs, l\u2019humain et le non-humain, l\u2019autre et soi, et l\u2019autre en soi.<\/p>\r\n

Sur le tapis, les mouvements tout en reptation et en d\u00e9ambulation font la part belle \u00e0 la danse contact. Les personnages forment un trio \u00e0 g\u00e9om\u00e9trie variable, dont Laurence Yadi est le coeur. Objet des regards, motrice du mouvement, elle est le point focal par lequel se font et se d\u00e9font les figures dans une combinatoire subtile qui r\u00e9v\u00e8le une impossible sym\u00e9trie et un \u00e9clatement programm\u00e9.<\/p>\r\n

Au loin, ailleurs, des \u00e9chos d\u2019une vie parall\u00e8le : un chien qui aboie, un air de cor de chasse, une scansion qui \u00e9voque des grillons; des mondes se c\u00f4toient qui vont se refermer par la volont\u00e9 du musicien-chaman, plongeant la sc\u00e8ne dans le noir et dans la persistance r\u00e9tinienne d\u2019un ab\u00eeme habit\u00e9.<\/p>\r\n

La pi\u00e8ce s\u2019attache \u00e0 d\u00e9limiter les contours des plans qu\u2019elle juxtapose, elle ne joue pas sur le leurre et ne se veut pas consolation. Si elle distille un climat pr\u00e9-r\u00e9flexif, primitif, et baigne le spectateur dans une \u00e9tat de conscience r\u00eaveuse, elle dit aussi un monde, certes retranch\u00e9, mais toujours solidaire de ce monde.\u00a0La\u00ef la\u00ef la\u00ef la\u00ef<\/strong>\u00a0joue du clivage et de l\u2019alt\u00e9rit\u00e9; sans les abolir, elle rassemble l\u2019espace pour faire jaillir de l\u2019unit\u00e9.<\/p>\r\n

Graziella Jouan<\/strong><\/p>\r\n

* Henri Michaux, Mouvements<\/em><\/p>\r\n\r\n<\/div>","_fr_post_excerpt":"","_fr_post_title":"La\u00ef la\u00ef la\u00ef la\u00ef","_fr_post_name":"lai-lai-lai-lai","edit_language":"en"},"excerpt":{"raw":"","rendered":""},"_links":{"self":[{"href":"https:\/\/archives2025.cie7273.com\/en\/wp-json\/wp\/v2\/project\/43"}],"collection":[{"href":"https:\/\/archives2025.cie7273.com\/en\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/archives2025.cie7273.com\/en\/wp-json\/wp\/v2\/types\/project"}],"wp:attachment":[{"href":"https:\/\/archives2025.cie7273.com\/en\/wp-json\/wp\/v2\/media?parent=43"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}