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fro Doss
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Ap tradd excer
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201 no.
0 16
le magazine de la création hors les murs
MAGIE
NOUVELLE
NEW MAGIC,
A CONTEMPORARY ART
Circostrada Network
dossier from stradda #16 / page 1
dossier
NEW MAGIC
THE EMERGENCE
OF A CONTEMPORARY ART
Over the past eight years, the field of magic has had
enough of rabbits and virtuosic sleight-of-hand
tricks. It has been affirming itself as an independent artistic movement aiming to get back in touch
with the feeling of magic.
be giving new life to the creative act, using magic as
means of endlessly transforming the world. Balls
flying over the heads of the audience, shadows that
take on a life of their own, a floating cloud beneath
a glass bell...
While we often may remember magic as mere entertainment, the discipline also contains several
other elements. It is often used in ritual, traditional,
religious and medical domains and it deals with the
great human fantasies (flying, resurrections, mindreading, etc.). It is essential to reinvest this creative
potential with issues that, although they are contemporary, have been neglected for many years.
Through its ability to divert the real within the real
– by making the imaginary tangible, by giving life to
the invisible, by playing with our perception – the
language of magic is as diverse as the artists who
put it to use.
contents
Determining the grammatical structure of this language, studying the real in all of its forms in order
to take hold of it, making use of old techniques
along with new technologies: the idea is to always
Five thousand years of enchantment
p. 2
“An ability to infinitely transform the world”
p. 5
Training. The transmission of a language
p. 6
“All of our research can be helpful to art”
p. 7
The heralds of the magic revival
p. 10
Thierry Collet. The primitive concern
p. 11
Kurt Demey. The mentalist city
p. 11
Cie 14:20. The spectacular
at the service ofsensations
p. 13
Olivier Poujol. Answering history with magic
p. 13
The great illusion
p. 14
An active principle
p. 15
Distribution. From Rouen to Rome,
enthusiasm is on the rise
p. 16
Who’s who in new magic
p. 17
New magic videos can be found
on the website www.stradda.fr
dossier from stradda #16 / page 2
Just as the initiators of this movement are compiling the “For a new magic” manifesto, Stradda is
transmitting the tools necessary to appreciate this
artistic movement, which allows for all new fields
of possibilities.
★ DOSSIER COORDINATED BY JULIE BORDENAVE.
Five thousand
A few historical landmarks to understand the
★ The term magic is the result of an initial
ambiguity: for your average person the word has
a symbolic connotation to charms, spells and
the sublime. The term magic appeared in 1535,
formed out of the Greek mageia, the Latin magia
and implicitly related to magi, a caste of Persian
priests who were worshipers of Zoroaster. A cluster of magical practices then became generally
noticeable. The Inquisition would associate magic
with witchcraft, closing it up within a defamatory
model that would remain until the disappearance
of religious tribunals in sixteenth century France,
and in 1831 in Spain. The terms of conjuring
and illusionism appeared conjointly at the end
© CLÉMENT DEBAILLEUL
years of enchantment
context that has led up to new magic.
of the Inquisition and formed the vocabulary of
modern magic. During the same period we find
the appearance of the terms medium, shaman,
spirit: these words allowed for the separation of
fake and “true” magic.
★ The first traces of magic, 3000 years
BCE, accentuate the close relations between illusion and survival. The practices of mimicry that
allowed archaic societies of hunters and gatherers
to incite the gods to provide them with game (trapping techniques, covered traps, leaves, caves with
trap doors...) were all precursors of a necessary form
of magic. By mimicking nature and exploiting the
limits of common perception, humans forged a
creative magic subject to the view of the other.
★ We find uses of magic as enter-
The danser
Fatou Traoré, in
“Vibrations”,
by Cie 14:20.
tainment
in pharaonic Egypt. The Westcar
papyrus tells of the exploits of the magician Dedi,
who was at the service of the pharaoh Cheops,
who reigns at around 2550 BCE, suggesting the
rulers’ interest at the time in the development of
the magic arts. A juggler sculpted on a bas-relief
on the tomb of Beni-Hassan (around 2500 BCE)
suggests a link with subterfuge and manipulation,
important elements in the portrayal of the themes
of magic.
➜
dossier from stradda #16 / page 3
NEW MAGIC
THE EMERGENCE
OF A CONTEMPORARY ART
➜
★Performance magic
first appears in ancient
Greece. The theatre of the
day would develop a repertory where trapdoors and
secret passageways used as
special effects would become
central to plot developments.
In the sixth century BCE we
find examples of flight. A
certain effect allowed actors
playing gods to take to the
sky within the theatre and to
move about through the air,
as if by magic. The function
of the Master of secrets of
medieval mysteries originated from the same source.
The idea was to transpose
and transform the real upon
vast plateaux, where angels
and devils require a different
kind of attention but incite
the same fascination.
★ The
Inquisition,
which was implemented
in France in 1234 by Pope
Gregory IX, would stop the
development of magical
practices for nearly six centuries. The condemnation of
heresy would spread to all
phenomena considered to be
paranormal or supernatural,
causing a scarcity of magicians throughout the West.
★ In the rest of the world, however,
other practices of traditional magic were available
to curious travellers. In 1535, the tireless pilgrim
geographer Ibn Battuta observed and related in
his “Road Journal” the spell of the “magic rope”,
a future object of fascination for a generation of
magicians.
★ In Europe, modern magic emerged
in the nineteenth century as a skill of illusion:
a term that goes back to the period of modern
arts, indicating a discipline that uses technical
progress as much as it uses the interest in physical
sciences at the time. In 1845, the Frenchman
Robert-Houdin, an ingenious watchmaker and
scientist, opened his Théâtre des Soirées Fantastiques. Dressed in traditional eveningwear, he
prefigures a new relationship with magic, which
was theatrical and elegant, but above all which
dossier from stradda #16 / page 4
denoted a space where the
magic arts would soon be able
to thrive. The opening of the
Egyptian Hall in England in
1873 at the behest of Jonh
Nevil Maskelyne was also a
part of this notion of holding
gathering places for practitioners of a modern magic destined to become increasingly
spectacular.
★ A repertory of gestures,
codes and conventions governs
modern magic. The close up,
which favours the manipulation of cards, coins or cigarettes, is intended for a very
small audience. Salon magic is
practiced for about a hundred
or so spectators. The magician
then uses ropes, scarves, doves
and playing cards... The great
illusionist work performed
on stage in the large theatres
develops a repertory based on
the use of boxes and spectacular theatrical techniques. The
woman cut in two, the zigzag
woman, the magic trunk and
the many transformations
that reveal wild animals and
elephants appearing on stage,
all allowed some magicians to
become true stars: Siegfried
& Roy, David Copperfield or
Criss Angel amaze and fascinate millions of spectators from the four corners
of the globe.
© FRAMEDARTPICTURESCOM
The magic
rope, which Ibn
Battuta spoke
of as early as
1355.
★ Seven main categories of effects can
found in the realm of human fantasy: levitation,
appearance, disappearance, transformation, teleportation, invulnerability and mentalism. From
these main ideas magicians are endlessly inventing
new tricks or new ways to perform them.
★ New magic came to life in 2002,
wanting to free the discipline from its familiar and
formal limits. Echoing the definition of modern
magic proposed by Robert-Houdin – “the magician is an actor who plays the role of a magician”,
new magic evokes “an art whose language is the
diversion of the real within the real”, called to make
use of the different functions taken on by magic
throughout history, to become its own artistic
form. ★ PASCAL JACOB
“An ability to infinitely transform
the world”
New magic offers a way to get back in touch with the feeling of magic. Its creative principle
appears independently, but also within dance, the circus, theatre... Raphaël Navarro
and Clément Debailleul, both initiators of this movement, talk to us about the foundations.
Stradda: What is new magic?
Raphaël Navarro: It’s an art whose language is the
diversion of the real within the real. Magic is a
way to situate oneself in relationship with the real
– space, time, objects... – in a specific kind of way.
Movies and painting divert the real in the physical
space of the image. Theatre and literature suggest
it within a metaphorical space. New magic plays
with the real within the real: that is to say, within
the same space-time offered by perception. Images
no longer correspond with an illusionist act. They
make up a proper order to reality.
Clément Debailleul: Magic has always existed and
conceals many realities other than the form of
the modern performance, which was born in the
nineteenth century, when it was limited to a repertory of objects, effects and attitudes. New magic
asks questions and opens up pathways: stepping
out of the limits of the performing arts, imagining
effects without a magician, going beyond the visual
domain to address the other senses – smell, hearing,
touch, taste... ; asking questions about the dizziness
of the perception of space and time... a square rainbow, a meat-flavoured strawberry, an object that
falls in silence... are all new images offered up to the
imagination of artists and capable of taking on new
life and meaning. We suggest getting back in touch
with the feeling of magic. Being in the country of
the new wave, new cuisine and the new novel, and
coming from the new circus ourselves, it seemed
logical to us to call this movement new magic.
What do you thing the feeling off magic recovers and
what place might it have in our time?
R.N. : It’s an ancestral and healthy emotion! Since
magic is a threshold to the invisible, its goal is to
bring into existence what does not exist. As an
artistic form, it represents an ability to infinitely
transform the world.
C.D. : If one defines contemporary art as an appropriation of a vision of the world by the outlook
of the artist, magic is an eminently contemporary
form. It suggests another approach to reality. And
as a first form of human creation, it is also intrinsically popular.
R.N. : The idea of this movement is to develop and to
showcase magic, to reveal its different approaches, to
support artists looking for innovative practices and
to grow together. We also want to offer support
and tools for a demanding kind of composition and
efficient means of distribution for new and current
creators as well as for those to come, who are speakers
in their own right. New magic also offers a different
approach to modern magic, complementary and
precise, so as to make the magic arts a specific and
independent form of language.
“If painting diverts the real
in the space of the image,
new magic diverts the real
within the real.” Raphaël Navarro
“To represent the
impossible, new magic
uses existing techniques
or creates new ones.”
Clément Debailleul
What are the specificities of this language? How do
they influence the creative process?
R.N. : A language defines a way to express the world.
There are certain things that one cannot translate
into another language, because each one carries
within it, in its vocabulary, its grammar, its dialectics or its history, a way of situating itself in relation
to the world. This is also the case in the language
of magic. It is governed by technical constraints,
grammatical rules and a certain number of psychological, mechanical, material, bodily or scenographic principals that influence the way in which a
show is written. A magic effect never works ➜
Raphaël Navarro is
a scenographer,
juggler, magician
and theorist.
Clément Debailleul
is a scenographer,
juggler, magician
and multimedia
artist. In 2000 they
created Cie 14:20,
now associated
with the
Hippodrome in
Douai, and began
working for the
emergence of an
original artistic
form: new magic.
In 2005 they
opened the first
training
programme in the
magic arts,
recognised and
supported by the
Ministry of Culture
through the Cnac.
The “For a new
magic” manifesto,
drafted by Clément
Debailleul,
Valentine Losseau
and Raphaël
Navarro is due to
be released in
2010.
http://cie1420.
free.fr/www.cnac.
fr
dossier from stradda #16 / page 5
“Solo S”, by Cie
14:20.
➜ on its own. It must be coupled with processes
that play with the attention or respiration of the
audience. These processes must have an influence
on the pace, the creation of movement. They can
inflect the entire scenography. But beyond its
specific written form, the language of magic is the
vehicle of issues that are all its own.
C.D. : In this language, the technical gesture takes
on new meaning. The imbalance of the real is envisioned as an artistic question. In order to represent
the impossible, new magic uses existing techniques
or creates new ones, but it does not lock itself up in
a repertory of effects, a single message or aesthetic,
nor does it reduce itself to one single form of artistic expression. Clouded perception is a creative
principle that can reach other fields. This is why
we think of new magic as an artistic movement and
not as a form of internal, aesthetic revolution.
How does that translate concretely?
C.D. : For example, cubism corresponds to an aesthetic revolution within painting. Its principles are not
transferable to other forms of expression. Inversely,
a movement like surrealism of course involved literature during its time, but it also involved pain-
© MANUEL COUETTE
© CHRISTOPHE RAYNAUD DE LAGE
“Les Impromptus
2009”, by Cie
14:20, at the
Académie
Fratellini.
ting, sculpture, photography, film and theatre...
Likewise, new magic – as a language based on the
diversion of the real within the real – can be a valid
creative principle within many domains: theatre,
circus and puppetry, as well as painting, cuisine,
haute couture, land art and architecture. That is
the kind of artistic movement that it is.
R.N. : Magic can influence and inspire a number
of creations, for it allows one to make the invisible
visible, to animate the inanimate, to materialise or
suggest the unreal, to create doubt, to work on our
identity and our perception... It’s also one of the
rare techniques that are not embodied from the
start. It can take on any form, as long as it manages
– within the real – to embody that which does not
exist. Paintings remain pictures, choreography a
body in movement... Magic recovers the field of all
that is not real: its space is, by definition, broader
than the real and has no predefined appearance.
Its images cannot be contained within any list, as
exhaustive as it may be. It gives birth to images,
processes and emotions that are all its own. That
is what makes it an art in its own right!
★ TEXT COMPILED BY JULIE BORDENAVE
Training. The transmission of a language
I
n a domain where the
secret is king, a gesture
of open transmission is
already an indisputable sign
of progress. Five years ago,
Raphaël Navarro and Clément
Debailleul put into place, at
the Centre National des arts
du cirque in Chalôns-enChampagne, the first new
magic training programme.
This course can be followed
as part of the general training
programme, through writing
and composition workshops,
or as part of ongoing
professional training (as a
dossier from stradda #16 / page 6
350 hour course). Classes
discuss theory, practice and
creation – from the history
of magic to stage work,
including technique and
direction – allowing students
to master this “language” and
to enrich their compositions.
This is accomplished with
the help of instructors with
backgrounds in performance
and in theory – along with
ten or so magicians. There
are also anthropologists,
historians and criminologists,
as well as the choreographers
Kitsou Dubois and Philippe
Decouflé, the dancer and
actor Pierrick Malbranche (the
Philippe Genty company), the
architect and scenographer
Pascale Lecoq (daughter of
Jacques), the actress and
director Coline Serreau, one
of the co-founders of the
Cirque Plume, Jean-Marie
Jacquet, the jugglers Etienne
Saglio and François Chat...
This instructional programme
proves that magic can be
more than a simple cabaret
attraction. It can build
bridges between the arts. In
parallel, and as a sign of its
commitment, the Cnac, is
putting into place the largest
European resource collection
on magic.
Elsewhere, and on a more
theatrical note, Thierry Collet
also intends to support the
renewal of codes, aesthetics
and dramaturgy. He trains
professional artists, most
notably at the Conservatoire
national supérieur d’art
dramatique, and also offers
classes to amateur actors,
teachers, prisoners and
architects...
★ ANNE QUENTIN
NEW MAGIC
THE EMERGENCE
OF A CONTEMPORARY ART
“All of our research can be helpful to art”
Let’s travel to India to find street magicians, collaborations with philosophers, ethnologists, searches through
old archives, work on current technologies... new magic can lead to all different kinds of studies.
Stradda: New magic is also
interested in the humanities.
Can you tell us about your
areas of research?
Raphaël Navarro: A first
section concerns research
techniques, which include several
components. The historical
field – based on the means by
which magic was conceived in
relation to different time periods
and geographic zones, notably
in search of forgotten thought
patterns – is coupled with an
ethnological and anthropological
aspect, in collaboration with
Valentine Losseau, (doctoral
student at the laboratory of
social anthropology at the
Collège de France), a scholar
in constant contact with new
magic. She carries out studies in
the field with Lacandon Mayas
in Mexico. The question of
magic in different parts of the
world – whether its function is
religious, pre-scientific, esoteric
or traditional – is for us a crucial
element of understanding the
role of perception of the real.
Could you describe for us your
fieldwork on traditional magic?
R.N.: Our movement also
works to build bridges between
modern Western magic and
traditional forms of magic. For
example, India is a case in point:
traditional street magicians
represent a separate caste.
We conduct on-site research
regarding lost or forgotten tricks,
not only to give them back to
the magic community, but also
to understand the elements
behind these tricks and what
kind of symbols they put into
use. Yearly trips are made to
India, to which we invite modern
French magicians in collaboration
with the Fédération française
des artistes prestidigitateurs.
Conferences are also organised
in France to encourage exchange
between the network of
subsidised performance spaces
and artists from variety shows
or traditional magic, who do not
know each other. For example,
in 2008, such a gathering was
organized near Paris at the
Chaufferie of the Compagnie DCA
– Philippe Decouflé.
Are these field activities
accompanied by academic
research?
R.N.: We do draw from the
philosophy and history of
religions through exchange with
scholars like Xavier Papaïs, a
lecturer at the École Normale
Supérieure, or Jean-Pierre
Warnier, co-founder of the group
of researchers Matière à penser.
The academic network is essential
for us. The erudite points of
view that develop there put forth
aesthetic or social proposals that
can nourish art.
Is there another study section
for different techniques...
R.N.: We work on the history
of techniques, both magic
– by looking at old engravings,
theatrical machinery or optical
principles – and mechanical,
in the nautical domain, for
example. The resurgence of all
of these forgotten procedures
since the arrival of motors or
of electricity add to the current
experiments – on new material
or new technologies – to perfect
innovative magic techniques.
We are thus in partnership with
many state-of-the-art companies
for the first aspects, and we are
creating software for the second.
Would you say that you are
trying to outline the perception
of the real by multiple entry
points so as to better divert it?
R.N.: These various experiments
are inspired, lastly, by research
on the workings of perception
of the real from a mental and
physiological point of view:
brain activity, memory, social
psychology, psychoanalysis... We
thus open pathways alongside
ethology (the study of animal
behaviour) to try to understand
if magic is an innate principle
of life – since animals use
techniques of illusion and
mimicry in both the hunt and
seduction – or to know if
animals might have some kind
of perception of the surreal. All
of this research can be helpful to
art; these domains are still very
airtight, but they have a lot to
offer each other.
How is the research formalised?
R.N.: The transmission takes
place through training and public
events: conferences, seminars,
exhibits...
We also carry out legal work
with the jurist and magician
Guilhem Julia, aiming to propose
copyright laws for magic. In the
end, we would like to create a
research centre for new magic.
Because aside from being a
creative movement, it is truly an
independent artistic principle:
a motor that is becoming the
vector of different expressions,
aesthetics, or even techniques
regarding the arts, carried out by
many artists and companies.
★ TEXT COMPILED BY J.B.
dossier from stradda #16 / page 7
A PHYSICAL
JOURNEY IN
SEARCH OF
A PLACE
TO CALL
HOME *
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6 -8 AUGUST 2010
EDINBURGH
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11-22 AUGUST 2010
EDINBURGH
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Un voyage physique à la recherche d’un chez-soi
More info:
www.iron-oxide.org
www.edinburgh-mela.co.uk
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CIRQUE JULES VERNE - AMIENS
SOIRÉE MAGIQUE
© Christophe Raynaud de Lage
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Supported through the Scottish Government’s Edinburgh Festivals Expo Fund
publicité
présente
Coordination graphique : L. Athanase / E.V.A.C.
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« M a g ic ie n s
www.spectacles-credo-music.com
NEW MAGIC
THE EMERGENCE
OF A CONTEMPORARY ART
Whether it is part of a story or the
centre of the creative act, magic is
used today to represent the invisible,
to perform the impossible, or to bring
an imaginary world to life. Here is an
encounter with a few artists among
the thirty or so companies that
practice a new approach to magic
today in France.
G
oing beyond the simple demonstration has already been an objective for
years in the work of some magicians,
including those from the traditional
milieu. A king of card tricks, which
he has been working at since the 80’s, Bebel, as
early as 2000, was putting on “a simple mini-play”
with the member of the Oulipi literary movement
Jacques Jouet, putting the cards on stage as marionettes. Nostalgic for the magicians of yesteryear,
who carried entire worlds in their carriages, Bebel
is currently looking for an author to formalise
the composition of his travelling project, “La Vie
Secrètes des Cartes.”
© PETRI VIRTANEN / KKA
The heralds
of the magic
revival
“I look to develop a
relationship with the object
before doing the trick, to bring
the spectator into a surrealist
poetry. My ambition is to tell
the story, without having to
prove anything.”
Xavier Mortimer
Writing tool
Contextualising the effects of magic so as to make
them part of a story is also the concept behind the
work of Xavier Mortimer, who – since his first
encounters with the world of modern magic in his
adolescence – has worked to transform magic into
an emotional force. “I look to develop a relationship
with the object before doing the trick, to bring the
spectator into a kind of surrealist poetry. My ambition
is to tell a story, without having to prove anything.”
His “Ombre orchestre”, which was created in 2003
in the Latvian terrain K@2 and has already been
performed over six hundred times, brings to life the
fantasy of a solo musician who invents an orchestra
dossier from stradda #16 / page 10
through the sheer force of his imagination. On the
screen, shadows give life to subtle and crazy images,
in a poetically old-fashioned aesthetic that uses the
classical repertory of modern magic in honour of
its more traditional forms.
The magic of the Compagnie Décalée is a collective practice on stage, and serves as a writing tool,
just like juggling or music. The trio shares with
Jani Nuutinen (Circeo Aereo) – who will offer an
outside perspective on their first creation “Living”
(2006) – the desire to “include magic in a natural
way, without diverting objects from their main func-
“Keskusteluja”
by the WHS -Ville
Walo & Kalle
Hakkarainen
company.
“Partons pour
Pluton”, by the
Compagnie des
Femmes à barbe.
© NATHANIEL BARUCH
tion: their presence is justified.” Here magic is a
way of developing a situation within a codified or
routine framework, such as that of hearing for “La
Parade des hiboux” (2010). The musicians’ agony
takes shape through a rebellious piano or a fabric
that transforms into a ghost to haunt the thoughts
of the pianist...
“Influences”, by the company, Le Phalène - Thierry Collet.
Thierry Collet The primitive concern
Contemporary psyche
“M
Because of the fantasies that it taps into – reading
minds, telekinesis... – mentalism is rooted in
contemporary issues. In the vain of modern magicians demystifying fake spiritualists at the end of the
nineteenth century, Gwen Aduh, from the Compagnie des Femmes à barbe, scoffs at “the paranormal
and its impostures”, from the sale of fake miracle
pills (“Les Gélules 4 couleurs de M et Mme Li”), to
the telepathy of ufology (“Partons pour Pluton”),
or the simulacra of shamanism (“Amanita Muscaria”). The artist uses techniques of magic – illusion,
physical conditioning – in fully thought-out worlds
agic should be a contemporary form, in touch with the
political, social and religious questions of its time”; as early
as his first encounter with magic – and his discovery of the
visual theatre of Philippe Genty or Mummenschanz in the 70’s – Thierry
Collet was driven by the desire to give meaning to a discipline that
seem to sorely need it. After his training as an actor and four shows of
narrative magic, his last two creations have centred around mentalism:
“We manipulate thoughts, not objects. Something very profound about
magic is expressed: the relationship to power. The frame of the show is,
of course, harmless. But the idea is nonetheless to represent a mental
authority that takes control over a group with its tacit permission.”
The societal angle, which was outlined in “Même si c’est faux, c’est
vrai” (2007) with the theme of the mindset of the consumer, continues
with “Influences.” Playing the role of the expert, the professor and the
sales representative, the artist offers a series of shared experiences,
indicating the mechanisms at work in the manufacturing of consent.
Beyond a denunciation of these methods, there is also a desire to
question its roots. “I bring together the feeling of magic and a primitive
concern. I am interested in looking for the need that sets off the desire
for enchantment, utopia, the will to hand oneself over to a mental
authority.” ★ J.B.
www.thierrycollet.net
Kurt Demey The mentalist city
that always offer a double interpretation: “For me,
magic is an extension of religion. In the end, I am
always confused by human credulity, the enthusiasm
for paranormal phenomena... which all help me to
create my shows!” For Scorpène, mental magic is
a way of playing with one’s points of reference to
allow a different perception of reality. Sharpening
an astute observation of the other acquired in a
career as a chess player, then looking to destabilise
the real by bringing the visible and the subliminal
together in live video performances, the artist makes
use of three major pillars – “alchemy, quantum ➜
© SATYA ROOSENS
© PATRICK BOSC
“I
t is the most fertile terrain for cultivating illusions.” That is how
Kurt Demey, the Flemish multidisciplinary artist describes the
public space. After “L’Homme cornu” (2008), he is again using,
in “La ville qui respire” (2010-2011 creation), mentalist techniques as
artistic tools and thus makes magic a fundamental ingredient in his
dramaturgical work. The spectator, taken in by five short sequences
with a minimalist aesthetic, is plunged into “small urban rituals that
destabilise their usual context of references”, provoking confusion and
uncertainty. Such is the case in
the enigmatic scene where a liquid
contained in a glass jar turns out to
be flammable... while a spectator has
just taken a drink out of it as if it
were water. For Kurt Demey, the city
is full of tales and stories hidden in
its recesses; invisible remains of past
lives. Magic is an opening toward
this invisible element, the fault line
from which poetry springs out, when
logical deductions fail. ★ A.G.
www.rodeboom.be
“L’Homme cornu”,
by Kurt Demey / Rode Boom.
dossier from stradda #16 / page 11
NEW MAGIC
THE EMERGENCE
OF A CONTEMPORARY ART
“Le Soir des
monsters”,
Compagnie
Monstre(s) Etienne Saglio
➜ physics and ‘The Songs of Maldoror’” – for his
new creation of mentalist magic, “Réalité non ordinaire”, in which word games of the language of
birds and magic effects aim to plunge the spectator
into a receptive state, making room for intuition
and improvisation: “Mentalist magic mixes performance and mystery: the strange, the being-out-there,
this thing that reaches us all.”
Through the specificities of its composition, put
into emphasis in new magic, the language of magic
guides the creations of certain artists to make them
“authors of magic.” By stepping onto the road
of new magic at the Cnac in 2005, the juggler
Etienne Saglio discovered a way to formalise the
artistic intentions of his first creation, “Le Soir des
monstres.” A character surrounded by cumbersome
objects – monsters – compensates for his loneliness
by bringing them to life. His mental switch-over
is made concrete for the audience: “Magic allows
me to perform, within the real, this mise en abyme in
relation to the creative act of the artist: moments of
illumination and moments of total solitude where the
mind can wander.”
Presiding over the writing of the show, the
language of magic imposes three dramaturgical different realities: normal reality, wherein the
character is developed; magical reality, expressing
in a tangible way the distorted activity of the mind,
with, for example, a pipe that transforms into a
snake; and emotional reality, creating timeless
bubbles with suspended sketches, like a juggling
sequence with a plate of polystyrene. Instilling itself
even in the reality of the spectator (the house, the
wings of the theatre), magic guides the scenographic choices: “From creating movement, to the choice
of lighting, the whole thing is set against the idea of
navigating between different strata of reality, which
is the very heart of the message.” Etienne Saglio has
continued his technical research in the performing
arts (slow-motion diabolo with Antoine Perrieux)
and the visual arts. He thus created two installations, a mini-couple of paper dancers, spiraling
into a furious tango on an old wooden table, and
levitating clouds under bells made of glass. “From
this apparatus there is a relationship with frozen time,
we work to create movement, like by making the cloud
rain...”
An encounter with new magic also allowed the
director Olivier Porcu (compagnie Pentimento) to
bring to life ideas that had for a long time been
dormant within him, “about the small death,
about absence.” Located in the future, the world
of “Manipulation(s)” – uchronia in the vain of
Orwell, Kafka and Calvino – depicts a totalitarian
universe. Transformed into a digital population,
dossier from stradda #16 / page 12
© CHRISTOPHE RAYNAUD DE LAGE
Parallel realities
“Movement, choice
of lighting, the whole
[scenography] is set
against this navigation
between different strata
of reality” Etienne Saglio
the audience has its papers examined by the actor
playing a public servant of the future. Magic,
through the manipulation of objects and predictions, puts into place this omnipotent and omniscient matrix, where the actor and the spectator are
placed within the same momentum. The author
is currently working on an adaptation of “Dans
la solitude des champs de coton” by Bernard-Marie
Koltès, revisiting the famous dialogue between the
dealer and the customer through the hologram:
“The direction of an actor simultaneously portraying
two characters on stage allows one to look for more
intimate elements.”
The impossible instant
Magic can also be extracted from a story to seize
on an impossible instant. Romain Lalire plants
his “Instants magiques” within the city, like in
situ mini-performances, which also work on the
Cie 14 : 20 The spectacular at the service of sensations
C
reated in 2000 by Raphaël Navarro and Clément Debailleul, Cie
14:20 explores new magic. As early as 2004, “Solo S” placed
magic in resonance with poetry and painting, juxtaposing
the presence of two jugglers to put into play the randomness of
the echoing collapse of the words of Michel Butor, the ephemeral
of suspension as seen by the durability of the line set on a canvas.
The 2009 creation “Vibrations” centres around four solos, creating
spectacular images to bring into play the movements and the states
of the body: free from gravity, the dancer Fatou Traoré explores a new,
gestural language, levitating two metres above the ground, before
encountering her holograms, immanent alter egos revealed by fixating
a movement in space, like fragments of residual memories finding
independence so as to become partners in their own right; the juggler
François Chat starts up a sensual double act with his shadow, which
eventually will literally absorb him; the juggling of Etienne Saglio
follows the movement of the stars, inciting a spiral of twenty-five
phosphorescent balls in exponential rotation above the audience; the
movement is instilled in a visual work, through a picture with shifting
visual content. Magic techniques and digital arts are put into use to
create states of global immersion, nestling in the spectator’s sensations
so as to generate memory. The nomadic structure inaugurated for
“Vibrations” is the company’s Monolith (a black cube, 8m x 12m x
8m), which is presented as an itinerant laboratory on new magic,
placing itself within the public space so as to host distribution events,
residencies, or gatherings.★ J.B.
cie1420.free.fr
Confusion of sound
Confusion can also be expressed through the
domain of sound. With the duet Kristoff K. Roll,
the musician Jean-Christophe Camps has, since
1990, been carrying out research on the natural
theatricality of sounds: “Making the object produce
a sound is already to give it another meaning. Magic
also allows one to play with the potential of set sound:
substitution, de-synchronism...” Demonstrations
with listening stations and the creation of ➜
Olivier Poujol Answering history with magic
O
livier Poujol has been at the head of the Élan Bleu company
since 1995. This enthusiast of classical authors like Shakespeare
and Flaubert paradoxically does his best to get away from
the text: dance, circus, new technologies... all ways of expressing
emotion while stepping away from the word alone. He is versed in
the exploration of identity and its metamorphoses and his work on
the heteronyms of Fernanado Pessoa as early as 2007 called for an
apparatus of optical magic so as to render the interior world of the
writer in its many incarnations. New magic is at the source of his latest
creation, a “Faust” transformed for the age of the Internet. “I decided
to rewrite the play and to start with the possibility of magical effects
that inflect its constructions. My focus was to respond to history
with magic effects.” A way of recognizing the calibre of Mephisto: “I
wanted this character to surprise us constantly, without making him a
magician doing tricks. I wanted the audience to see him in one place
and all of a sudden he pops up elsewhere, even in the house with the
spectators. Creating tricky moments without really identifying them,
switching over to a somewhat frightening malaise.” Magic is also a
way of bringing out
what can’t be said:
“Materialising images
from our unconscious,
from our fantasies that
we often hide. Seeing
them appear before
our eyes creates very
strong emotions.” ★ J.B.
Compagnie l’Elan bleu
“Faust”, Compagnie L’Elan Bleu.
www.clebarts.com
© EMMANUELLE DE MAISTRE
magical gesture of sign language with the deaf
actor-magician Bastien Authier. An enthusiast
of visual theatre, the Finnish Kalle Hakkarainen
offers, as a duet with the juggler Ville Wallo, and
with the WHS company, performances with a refined aesthetic, alternating between incongruous or
anxiety-ridden instants; interaction with the actress
of an old Russian propaganda film transformed as
a romance; bullfight with the images of a bus on
the run... The important thing is the impact of the
created image: a confusion of the senses resulting
from the association of incongruous images, like
oxy-morons of the senses, such as “the delicacy of
a nearly imperceptible movement – a piece of paper
that crumbles up right away like magic, for eight
minutes – accompanied by an incredible sound, that
is heavy on the bass.” For his next solo performance
(“Nopeussokeus”, 2010), Kalle will try out magical
effects that play with the perception of speed.
dossier from stradda #16 / page 13
NEW MAGIC
THE EMERGENCE
OF A CONTEMPORARY ART
“It is the modification of
the real in the time of
the encounter with the
audience that interests me,
not the illusion in terms
of effects.” Marco Bataille-Testu
Modified spaces
New magic allows the Théâtre du Signe to pursue,
in an original way, its questioning about the representation of the real in theatre.
Since 1992, the company has used new technologies to address societal or philosophical questions
meant for a young audience (absence, borders, the
origin of the world...): “Through the research taken on
by Alain Bonardi, composer and researcher at Ircam,
we have explored, for “Les petites absences” (2009),
the tension and the impact of the emotional state of the
actor-performer on the elements of the performance in
real time”, explains Marco Bataille-Testu, co-director of the company with Sylvie Robe. “We envision
magic as a sum of tools and processes aiming to open
our perception of the real. It is the modification of the
real in the time of the encounter with the audience
that interests me, not the illusion in terms of effects.
Our goal is the resonance of crossed compositions,
which allows the spectator to reconstruct the space.
The intrinsic strength of the magic tool also allows one
to go further in the performance of modified spaces.”
As part of its next creation (“J’ai brûlé mon nom
d’enfance et je suis parti”, 2011), the company will
begin research sessions on the fields opened up by
new magic. Eventually, professional gatherings in
Caen will provide the opportunity to invite artists,
theorists and technicians to discuss the theme of
the representation of the real. ★ J.B.
magicbebel.jimdo.com; xaviermortimer.com
www.compagniedecalee.fr; www.femmesabarbe.com
www.scorpenehorrible.com; pentimento.free.fr
www.lalire.com; www.taikuri.org
kristoffk.roll.free.fr; www.theatre-du-signe.org
dossier from stradda #16 / page 14
© LAURENT PHILIPPE
➜ tandems all offer alternatives to the traditional codes of the concert: music with no musician
– an echo of magic without a magician, one of the
themes proposed by new magic, which plays a role
in the research carried out for the Kristoff K. Roll’s
next creation, “L’Egaré.” “The idea will be to plunge
the magic of the phenomenon of sound into the world
of visual magic, where the objects can have their own
autonomy of movement and the thoughts of a visual
materialisation.”
The great illusion
From the Théâtre de Chaillot, to the Théâtre de
la Bastille, magic has been infiltrating, invisible
but powerful, into the diverse forms of the
performing arts.
“Sombrero”, by
the compagnie
DCA, Philippe
Decouflé.
E
ach beginning of a movement can be observed through the growing interest that other
artists may have for its techniques. Just as one
sees more and more circus artists in theatre performances or choreographers in the public space,
today magic can be found in a growing number of
productions. Certain creators are interested in this
new tool, in this language, and integrate them into
their creative world.
Fantastic images
The result is images that cannot be forgotten... the
body of a dancer that struggles between the giant
shadow of nimble fingers (“Sombrero”, Philippe
Découflé, 2007); an actor in a raincoat and a hat
that flies away on large paper planets (“Boliloc”,
Philippe Genty, 2008), the bust of a woman who
Opening the doors
At the service of these illusions, a handful of shadow
artists are contributing to the larger presence of
magic within the cultural space. Philippe Beau
is one of them, as are Abdul Alafrez and Thierry
Collet. While they develop very different artistic
worlds, they share a similar approach to magic.
Their magic blossoms when in contact with other
arts. Abdul Alafrez is a Beaux-Arts graduate and,
early on, became very interested in music and art
in its most contemporary forms. He “quickly pulled
away from a rather dusty old way of doing magic”,
so as to explore other possibilities. The list of his
collaborations attest to his open-mindedness: from
the jazz collective ARF (Association à la recherché
d’un folklore imiaginaire) to the stage director Dan
Jemmett (for “La Grande Magie” by Edouardo De
Filippo at the Comédie Française), not to mention
his current work with Julie Brochen on Chekov’s
“The Cherry Orchard” (at the Théâtre National de
Strabourg).
We find the same atypical profile with Philippe
Beau, who has made shadow work (magic work
with shadows and hands) his specialty. After a few
fateful meetings (with, among others, Philippe
Découflé and Robert Lepage), he now focuses on
collaborations, and is driven by a desire to “bring
magic and shadow work to arts that would not have
thought to use them.” In magic, “everything is possible. To say that to stage directors or choreographers, it
opens up doors for them....
Exchange of good practice
The key to collaboration is in exchange. The magician puts his skills and technique at the service
of the project. In return, he finds new means of
exploration. “I work in close detail with my hands”,
Philippe Beau tells us, “Collaborating with dancers,
I can explore ideas that their bodies make possible.
They become shadow performers.”
According to whether he is present on stage or
not, the demand and the time available, Abdul
Alafrez intends to “permanently reinvent the trade.
When I arrive at a theatre, everyone has his place.
I don’t, I have to find it, create it. It’s a fulfilling
experience every time.” Each show is a chance to
invent or to test new effects, but also to advance
the art of magic itself by putting it in contact with
other artistic disciplines. These magic effects must
transcend their technical side to insert themselves
as well as they can into the dramaturgy, the ➜
“Le Défilé”, an exhibit by
Jean Paul Gaultier and
Régine Chopinot at the
Musée des Arts Décoratifs,
in Paris.
© LUC BOEGLY
lifts up into the air, leaving her legs on stage (“Sur le
fil de minuit”, Luc Petton, 2002). When one speaks
figuratively of the “magic” of these shows, one
could not put it any better. There most certainly is
something magical about them.
© CATHERINE-ALICE PALAGRET
“39GeorgeV”, a giant
trompe-l’œil by Pierre
Delavie and Frédéric
Beaudoin, 2007.
An active principle
New magic wants to build bridges between artistic disciplines. Outside
of the borders of the performing arts, it is already taking its place as the
active principle of ritualised moments like the haute couture fashion
shows: weightless collections, metamorphoses of models in plain view
imagined by Cie 14:20 for the exhibit “Le Défilé”, by Jean Paul Gaultier
and Régine Chopinot at the Musée des Arts Décoratifs in 2007. It is
also present in the transformable clothing of the designer Hussein
Chalayan. Another ritual moment to approach is the meal, as much for
its proceedings as for its performance of textures and flavours. Ferran
Adrià, chef at the restaurant El Bulli, in Catalonia, speaks of magic as
one of the emotions promoted by his culinary language. His work gives
birth to flavours of carrot or electric cakes... At the crossroads of disciplines, the chemist and visual artist Laurent Duthion offers molecular
music, sub-aquatic tastings in an aquarium and other bubbles filled
with Antarctic odours of flowers.
But the fields of application for magic are infinite. Its processes are
found within several artistic approaches. They can also be found in the
work of video artists (the optical theatre of Pierrick Sorin, slow-motion
performances by Julien Maire), painters (anamorphose on sidewalks by
Julian Beever), photographers (floating images on abandoned buildings,
by Georges Rousse), or sculptors (impossible, three-dimensional figures
by Francis Tabary)... Fleeting architecture plays with illusions, such as
giant optical illusions to create a soft apartment building in the middle
of Paris (39GeorgeV, 2007), an “act of urban surrealism”, according to
its creators Pierre Delavie and Frédéric Beaudoin. At the crossroads of
automation and design, the work in progress is already turning heads;
interactive installations (research on the musical gesture by Blue Yeti;
installations for museums or hospitals by Mine Control...), enchanted
lights by Ingo Maurer, modular furniture by Kerdema Design, and the
jacket of invisibility by Professor Susumu Tachi, promising the eventual
creation of transparent walls or virtual windows... ★ J.B.
dossier from stradda #16 / page 15
NEW MAGIC
THE EMERGENCE
OF A CONTEMPORARY ART
➜ story, the narration. “I never bring a purely technical performance”, Thierry Collet explains, “it’s also
a matter of participating in the meaning, of offering a
stylistic or thematic interpretation.”
The key word of this incursion of magic into the
performing arts is illusion; an important theme in
the stage arts. After having solicited Philippe Beau
for “Kà”, a creation of the Cirque du Soleil, Robert
Lepage called on him for a sequence of shadows in
the opera “The Nightingale and Other Short Fables”,
by Stravinsky. As for Thierry Collet, he recently
explored the links between magic and film in a
“Cinderella” by Massenet in the Opéra Comique.
He is also at the side of Jean Lambert-Wild for a
hybrid creation mixing together texts, images and
objects, presented this summer in Avignon.
These are all creations where magic inserts itself
into a multi-facetted context that fascinates the
spectator. “When events take place as if by magic”,
writes Philippe Genty, “the spectator is propelled into
a world where not everything is logical. A small door
opens up. Surely, some will refuse to get involved. But
most will tell us ‘We don’t need any explanations... We
entered into the images as if in a dream!’ The idea is
not to use magic for the sake of magic, but to reinforce
what’s happening on stage.”
★ ANNE GONON
© JACQUES BÉTANT
At the Opera
www.cie-dca.com (Philippe Decouflé) ;
www.philippegenty.com
www.lucpetton.com ;
www.philippebeau.com ;
http://a.alafrez.free.fr
Abdul Alafrez
abounds in
collaborations,
from the Comédie
Française to jazz.
Distribution. From Rouen to Rome, enthusiasm is on the rise
New magic is quite certainly creating a distribution network for itself. It can now be found on national stages in Dieppe,
Douai, Marseille or Poitier, in the ring in Amiens or Elbeuf, in festivals in Auch, Paris or Rome...
T
he fascination surrounding
new magic can be found in the
programming of an ever-growing
network. The Hippodrome, the national
performance space in Douai and a major
supporter of the movement, partnered up
with Cie 14:20 for three years because,
as its Director Gilbert Langlois explains it,
“their movement brings out thought and
meaning. Magic crosses over civilisations
and cultures. It resonates with everyone.”
On the programme we find shows,
exhibits, films and conferences on new
magic.
Modern and new. In Marseille, Le
Merlan is extending the worked it started
last season. In October it will be organising a 10-day festival to bring modern
and new forms of magic together. It
hopes to make a regular occurrence of
these gatherings up until Marseille 2013.
dossier from stradda #16 / page 16
The Norman stage, where this movement
began, has since been a staunch supporter. DSN (Dieppe Scène Nationale) and La
Foudre in Rouen have taken on the work
of new magicians. In Paris, the Théâtre
National de Chaillot will open a pavilion
on magic in July 2010, during the festival
Imaginez maintenant (put in place by
the Council for artistic creation) and has
called on Cie 14:20 for its next season.
On the circus end, Roger Le Roux in
Elbeuf has programmed several events
based on new magic forms (magic
shows, gatherings and meals). At the
Cirque Jules Verne in Amiens, JeanPierre Marcos is organising an evening
of discussion between modern and new
forms of magic. In the Paris region, the
Académie Fratellini is actively supporting
the movement. It regularly hosts the
“laboratory” of experimentation and
of residency for new magic. And in
Auch, Circuits will be offering several
shows coming from this movement. The
Festival mondial du cirque de demain
created a new magic section in 2009.
Brothers of Calcutta. Abroad, Roma
Europa is including a wide range of
magic for its autumn festival. The Indian
Brotherhood of Magicians (Delhi) and the
Magic Research Society (Calcutta) will, on
an increasingly regular basis, host new
magic artists for their festival. The Big
Apple Circus from New York aims to create
American exposure, bringing its help to
the work of Cie 14:20. A growing and
composite network reflective of the kind
of work and potential found in the field
of magic, or rather a rhizome with both
visible and underground roots, all promise
a wonderful flourishing, necessary to give
life to this emerging form. ★ A. Q.
Who’s who in new magic
ARTISTS
Here are a few artists whose work subscribes to the concepts proposed
by new magic (non-comprehensive list):
Cie 14:20 www.1420.fr
Cie Décalée www.compagniedecalee.fr
Cie La Torgnole www.cielatorgnole.com
Cie L’Elan Bleu www.clebarts.com
Cie des Femmes à Barbe www.femmesabarbe.com
Cie Mobilobadour cie-mobilobadour.org
Cie Pentimento pentimento.free.fr
Circo Aero www.circoaereo.net
Antoine Terrieux www.cie-tilos.fr
Bastien Authié bastienauthietsonblog.blogspot.com
Bébel magicbebel.jimdo.com
Dis Bonjour à la dame disbonjouraladame.over-blog.net
François Chat www.francoischat.com
Kristoff K.Roll (J-Kristoff Camps) kristoffk.roll.free.fr
Kurt Demey www.rodeboom.be
Le Phalène (Thierry Collet) www.thierrycollet.net
Les Décatalogués www.decatalogues.com
Monstre(s) (Etienne Saglio) www.ay-roop.com
Porkeno membres.multimania.fr/porkeno
Romain Lalire www.lalire.com
Scorpène www.scorpenehorrible.com
Théâtre du Signe theatredusigne.org
Tide Company www.tidecompany.fr
Tour de Cirque www.cirk.fr
WHS (Kalle Hakkarainen) www.taikuri.org
Xavier Mortimer www.xaviermortimer.com
Yann Frisch
Yvan Gauzy yvangauzy.canalblog.com
SITES
Through key events that are made part of their performance programme, supportive
actions or gatherings, these structures have expressed their interest in new magic:
IN FRANCE
★ Académie Fratellini, La Plaine Saint-
Denis. The Académie Fratellini wishes
to play an active role in supporting the new magic movement and the
recognition of magic in the broadest sense of the term: regularly hosting
the Compagnie 14:20’s Monolith, an itinerant, new magic laboratory;
conferences; classes available to apprentices of the CFA (Conservatory for the circus arts); the booking of magic shows in the future...
www.academie-fratellini.com
★ Bibliothèque Municipale de Lyon. www.bm-lyon.fr
★ La Chaufferie / Cie DCA. www.cie-dca.com
★ Circuits, state-recognised performance space, Auch.
www.circuits-circa.com
★ Cirque Jules Verne, Amiens. For this new
season dedicated entirely to the circus, the
Cirque Jules Verne in Amiens will be setting up
a special event for magic on May 11 with a new
magic conference, followed by a magical evening: “a panel of acts
representative of the way in which New Magic has presented itself as
an independent artistic movement, with a very strong link with modern
magic, at the crossroads of all disciplines, form the arts of time to
those of space, the visual and the performing arts.” Among the artists
present, there is Bebel the magician, Cie 14:20 – Kim Huynh and François Chat, Norbert Ferré, Gaëtan Bloom, Philippe Beau and Olivier Porcu,
with the special participation during the week of Jacot the Illusionist.
w2.amiens.com/artsducirque
★ Cirque Théâtre d’Elbeuf, Elbeuf. www.cirquetheatre-elbeuf.com
★ CNAC, Châlons-en-Champagne. Since 2006,
the Centre National des Arts du Cirque has offered
a unique training programme in new magic. It is
intended for all professionals of the performing arts wishing to broaden their knowledge or to perfect a new approach to magic (artistic
aspects, technical aspects, etc.). Furthermore, a writing and composition workshop is offered to students of the CNAC: theoretical tools
for comprehending the structures of circus creation, as well as the
aesthetic and performative notions that they imply; with a practical
application of new magic tools and the compositional potential that
they offer, all taking into account the specialities of the students. The
resource centre of the CNAC constitutes a unique source of information on new magic. It currently includes 250 reference works - and
some are very rare, as most of them have been released in only a
small number of copies. These are the only open-access resources
for magic professionals, artists interested in object manipulation and
scholars. www.cnac.fr
★ DSN Dieppe Scène Nationale. www.dsn.asso.fr
★ Festival Mondial du Cirque de Demain.
www.cirquededemain.com
★ FFAP (Fédération Française des Artistes Prestidigitateurs).
www.magie-ffap.com
★ L’Hippodrome, Douai. This national performance
space of Douai persistently offers a multi-disciplinary performance programme (theatre, dance,
concerts, circus...) and is a strong proponent of new magic, with a
three-year partnership with Cie 14:20 (on-site artistic and cultural
education), the creation and distribution of shows, exhibits, cartes
blanches, seminars, conferences, itinerant research laboratories...
The Hippodrome has also partnered with the universities of Artois
to develop research on new magic. www.hippodromedouai.com
★ Ay-roop [production group] www.ay-roop.com
★ Le Cube, centre of digital creation (creation hub).
www.lesiteducube.com
★ Le Rayon Vert, subsidized performance space of Saint-Valeyen-Caux. [email protected]
★ Le Merlan, scène nationale, Marseille. www.merlan.org
★ TAP, Scène nationale de Poitiers. www.tap-poitiers.com
★ Théâtre de la Cité Internationale, Paris.
www.theatredelacite.com
★ Théâtre National de Chaillot, Paris. www.theatre-chaillot.fr
★ Théâtre de La Foudre, scène nationale Petit Quevilly/MontSaint-Aignan. www.scenationale.fr
★ Théâtre Romain Rolland, state-recognised performance space,
Villejuif et du Val de Bièvre. www.trr.fr
★ The City of Tremblay-en-France. www.tremblay-en-france.fr
ABROAD
★ Big Apple Circus, New York. www.bigapplecircus.org
★ Indian Brotherhood of Magician, Delhi.
★ Magic Research Society, Calcutta
★ Roma Europa, Rome. romaeuropa.net
dossier from stradda #16 / page 17
stradda
www.stradda.fr
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EDITORIALS Julie Bordenave – Anne Gonon – Pascal Jacob
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IMAGES Nathaniel Baruch – Jacques Bétant – Luc Boegly
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– Christophe Raynaud de Lage – Satya Roosens – Petri Virtanen /
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PUBLICATION HEAD, COORDINATOR Isabelle Drubigny
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A publication by HorsLesMurs – national resource centre for the
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DMDTS
Registration of copyright April 2010
ISSN: 1950 – 4713 – CPPAP 1008 G 88469
COPY EDITOR Peggy Tardrew
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a quitté Paris pour sʼinstaller en bord
de Seine et sʼintégrer à lʼéco-quartier
des « Docks de Ris » à Ris-Orangis (Essonne),
à 30 minutes de
Châtelet (RER D).
Ce nouvel espace de
cirque contemporain,
direction artistique
Adrienne Larue et
Fabien Demuynck,
accueille sous ses
chapiteaux des compagnies en résidence,
des artistes, et lʼatelier Cirque pour les amateurs Rissois.
Créations 2010
C ie Arts des Airs, Armance Brown/Bruno Krief
Sieste cubaine les 11,12 et 13 juillet
C ie Rialto Fabrik Nomade, William Petit
Préliminaires
C ie Etokan, Dan Demuynck, Fabien Demuynck,
Daniel Buren Nord/Sud
C ie Avek, Ludivine Narès ANIMAL(s)
Les créations dʼAdrienne Larue
Le tarot des destins croisés (reprise)
Les baraques foraines (création)
qui mettent en piste ses personnages de magicienne
très décalée.
www.chapiteau-adrienne.fr ● [email protected]
Nouveau téléphone : 06 83 63 20 94
K2CIRK/FABIEN DEMUYNCK
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dossier from stradda #16 / page 20
This project has been funded with support from the European Commission. This publication
[communication] reflects the views only of the author, and the Commission cannot be held
responsible for any use which may be made of the information contained therein.
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