Olivier Roller : Figures du pouvoir

 "Figures of influence"

"

The place: a former bra factory, where copies from original sculptures used by the Fine Arts have been gathered together. Those statues adjust to the different exhibitions the place organizes.

Olivier Roller decides to go beyond the clichés of portraiture very early by photographing his father using close-up frames with no artifice. He has been working for three years now on a photographic fresco through the theme of powerful people. He first photographed political men, then extended his field of investigation with people who represents other spheres and sectors of power. These portraits bring together financiers, advertising moguls, intellectuals, diplomats, and even Roman emperors.

The exhibition at the Musée des Moulages stages Olivier Roller's pictures in the middle of the statues, producing a play between those two forms of art. Some statues seem to look at financiers with disdain and french political men are overlooked by the statues. From floor to ceiling, the pictures are gazing at each other, mixing arrogant, proud and self-confident looks.

The pictures are very different, some are side-on, others full-face, some even show only their back. The light is hard, which highlighted every defects on the models' faces. The focus is often on the eyes of the models, the depth of length is important in order to make the look the main point of the picture. All the portraits are orientated in landscape, not in portrait, the frame is again always different, sometimes the face fits perfectly the frame, sometimes it exceeds, giving more or less impression of an imposing posture of the model.

During the shooting, the roles are inverted: the photograph has the power for 2 minutes. Olivier works very quickly, take a lot of pictures, he looks for his models to let go, they come as they want: if they want to put make-up or not and they also choose their clothes.

This exhibition and the work of Olivier Roller were really interesting, I think the theme of those figures of influence can be expanded, and maybe opened to more women... Indeed, there was only a few portraits of women in this exhibition, which still place the women of today under men influence when it deals with power. Is that a choice of Olivier Roller to reflect our society, or was it done completely unintentionally?

Infos :

du 13 mars au 6 avril 2013, du mardi au samedi de 14h à 18h

Au musée des Moulages de Lyon 2

Séance photo avec François Fillon

http://museedesmoulages.univ-lyon2.fr/actualites/olivierroller/

http://www.olivierroller.com/

Le Printemps des Poètes

Après les arts numériques, c’est un nouveau…domaine ? culturel dont je souhaiterais vous parler : Le Printemps des Poètes

Lancé par Jack lang et Emmanuel Hoog en 1999, le festival Printemps des Poètes s’inscrit dans un mouvement plus large visant à mettre en valeur et soutenir la poésie.

Le Centre national de ressources pour la poésie

En effet, le festival est coordonné par le Centre national de ressources pour la poésie. Les principales missions du centre sont :

 - Conseiller et orienter

L'association répond aux questions des auteurs, enseignants, organisateurs de manifestations et met en relation avec les poètes, éditeurs, libraires ou artistes, ou renvoie vers des structures ressources identifiées sur tout le territoire.

 - Développer une activité de formation sur la poésie

En organisant des journées professionnelles au plan national à destination des médiateurs (bibliothécaires, enseignants, organisateurs et amateurs de poésie) et en contribuant à la formation initiale et continue dans l’Education nationale.

 - Encourager la création

Par des commandes de textes aux poètes, des initiatives éditoriales, la promotion et la circulation d’auteurs en France et à l'étranger, l’attribution du label « Sélection Printemps des Poètes » valorisant des spectacles ou événements poétiques de qualité.

 - Initier des partenariats à l'année

Pour développer des projets originaux qui peuvent ensuite être étendus au national (MGEN, Casden, Maif pour le Prix Poésie des lecteurs Lire et faire lire ; Fondation Orange pour Silence poésie…).

Bref, il y a une volonté d’aller vers tout le monde que ce soit les professionnels, les amateurs ou les novices et de soutenir la création en la valorisant auprès de tous ces publics par des actions diverses (journée professionnelle, commande, partenariat…)

Le Printemps des Poètes

La manifestation du Printemps des Poètes est organisée tous les ans au mois de Mars (le Printemps commence le 20 Mars : coïncidence ?...je ne pense pas).

Chaque année le Printemps des Poètes :

- propose un thème et un répertoire d'actions originales
- mobilise le réseau des organisateurs et sensibilise les publics
- initie des partenariats avec les institutions, les médias ou les entreprises (en 2008 avec La Poste et sa fondation d'entreprise, la SNCF, Vinci Park, France Culture, la Fondation Orange...)

- commande des poèmes à des auteurs sur le thème de l'édition

D’autre part, un nouveau thème est instauré chaque année et si l’année dernière, le thème était Poésie du monde, cette année, c’est La voix du poème qui est mise à l’honneur.

Les acteurs de la manifestation s’emparent des multiples modes de transmission orale qui ont été sollicités Cette édition sera l’occasion pour les poètes de jouer sur les modes de transmission à voix haute du poème que ce soit par la lecture d’un comédien ou d’un amateur, par la lecture enregistrée, par la chanson…

« Dès sa naissance, au début des temps humains, la poésie est une parole levée.  Qu'il soit murmure, cri ou chant,  le poème garde toujours quelque chose  de son oralité native.  Il est donc peu ou prou une affaire  de voix, la voix intérieure du poète  répondant aux voix du monde.  Le partage des poèmes dans la cité,  qui est depuis quinze ans l'ambition  du Printemps des Poètes, passe  nécessairement par la voix haute.  Le Printemps des Poètes 2013  fera entendre plus que jamais cette  polyphonie vivante. »

La manifestation à Lyon

La manifestation à Lyon est organisée par l’espace Pandora qui à cette occasion invitent de nombreux poètes tels que Bernard NOËL, Jean Luc Bayard, Emmanuelle Pirevre….

Au programme de ce printemps des poètes, lLectures vidéos et musicales, des petit-déjeuners poétiques, des rencontres intimistes, des performances littéraires, j’en passe et des meilleurs.

Travaillant au Groupe Musiques Vivantes de Lyon, je choisis de vous faire part des événements qui concernent mon association (non, pas de favoritisme, je ne suis pas comme ça !) et il vous appartient de vous renseigner sur les divers sites internet que vous trouverez en lien dans cet article.

Il faut savoir que le GMVL accueille des artistes en résidence de création et depuis cet automne, nous accueillons la poète sonore Cosima Weiter pour la réalisation de son premier CD "ICI".

A l’occasion de la sortie de son CD et dans le cadre du Printemps des Poètes, Cosima Weiter (ainsi que le directeur artistique du GMVL, Bernard Fort) se produiront lors de la Scène Poétique qui se tiendra le 13 mars à partir de 18h  au théâtre Kantor à l’ENS

Programme de la soirée :

> 18h00-18h30 : Arno Calleja et Christian Fillips 

> 18h40-19h20 : « Le Discours sur rien » de John Cage – interprété par Bernard Fort 

> 19h20 : débat 

> 19h30-20h00 : Récital de Cosima Weiter 

> 20h00-20h30 : débat 

> Signature du CD « ICI » par Cosima Weiter

Je vous souhaite à tous un bon printemps qu’il soit poétique ou pas mais rien ne vaut des jolis mots pour accompagner le soleil qui est (enfin !!!!) de retour.

La scène poétique :

Le 13 mars - 18h

Lieu : Théâtre Kantor, ENS LYON - Site René Descartes - 15 parvis René Descartes - 69007 LYON

Réservation par email ou au 04 78 28 69 10 

http://patrick.dubost.free.fr/la_scene_poetique.html
Site du GMVL : www.gmvl.org

La manifestation à Lyon :

Infos : Espace Pandora : 04 72 50 14

78 / espacepandora@free.fr /  

Tout le programme sur www.espacepandora.org

Site du Printemps des poètes : http://www.printempsdespoetes.com/

Débris, Dennis Kelly 2003

Entretien :

Metteur en scène Vladimir Steyaert

7 & 8 février 2013 

au théâtre de l'Atelier, 69001 LYON

Entretien du 14 février 2013

« Avec ce spectacle, je veux m’adresser à un large public mais particulièrement à des jeunes. Je suis persuadé qu’un des meilleurs moyens pour faire venir les jeunes au théâtre et leur permettre d’accéder à la culture est de les emmener voir des spectacles où les personnages ont les mêmes préoccupations qu’eux avec un univers qui leur ressemble. C’est pourquoi la présence d’un DJ et d’un VJ me semble indispensable car la musique et la vidéo {que ce soit par les séries télévisées, les films mais aussi les jeux vidéos ou les vidéos en ligne sur internet (YouTube, Daily Motion...)} sont des piliers de l’adolescence et permettent non seulement de se chercher, de se construire et de se trouver mais également de développer un univers et un imaginaire en opposition avec le monde des adultes. Ce texte, en se focalisant sur la parole de deux adolescents, développe de nombreux thèmes et centres d’intérêts liés à cette période de la vie où l’on oscille entre volonté de grandir, prise de conscience de la réalité du monde, et envie de le changer. Sont présents dans cette pièce, plusieurs éléments faisant partie intégrante de la « mythologie » adolescente comme le rapport omniprésent à l’image, la fascination pour la violence, ou encore l’impossibilité de la communication avec les parents et l’ incompréhension voire la colère que cela peut engendrer. » Vladimir Steyaert

This is the story of a brother and her sister who tell their difficult childhood on stage. The two actors express themselves in front of an audience, as if they were in at court; their soliloquies are like testimonies; the statements they give are absurd versions of traumatic experiences (their parents' death, their kidnapping by a pedophile...). It is up to the spectator to untangle the true from the false. Stage director Vladimir Steyaert used eight televisions in order to raise among the audience the following: how television influences children's imagination? How do teenagers regurgitate those information, all this abundance of images? To a certain extent, we have the impression that the girl is creating a story from the images she is seeing on television, and not the contrary: the movie played on TV is not perceive as an illustration of what she says. For each scenario, the television is the third character. Television is so important that at one moment, the girl worried about how they are supposed to raise Debris (the baby his brother has found in a trash) without a television? Here, television substitutes education.

Vladimir chose « Debris » because he liked the text as soon as he read the first pages. He explains that he is fascinated by adolescence, this transitional period between childhood and adulthood. This is the period during which you shape your own personality, you are playing a game full of bad faith, you act like a child when it suits you but at the same time you also want to be considered as an adult when you want more freedom. Vladimir questions the fact that you can be very different from your brothers and sisters even if you evolve/grow up in the same familial sphere, and why those differences appear? This is a period of carefreeness where music has an important place. You build your own references between those of your parents and those of your friends, this is also the period for discoveries, parties...

The images projected on the tvs or in the back of the stage are extracted from TV shows (the stage director worked with a « VJ » a video DJ). The images are mixed and they also used images from surveillance cameras, recordings of the actors (the teenagers tell a story from their childhood and comments on TV what they are acting on stage). This is the way the stage director uses to render those two temporalities. Images of sonograms, the spectator and people in general are obsessed by screens, if there is one, you involuntary look at it (with this choice of staging, video tries not to serve badly the actors)

The question of light is also important. It is complex to use both video and much light. The guy who work the video part is also a musician, it was interesting for Vladimir because he sees video as a music instrument.

The play is build as a fight, they always outbid what the other said, taboos are evoked (religion, pedophilia, death, violence...) the best is the one who shocks the most. All these scenes are bound together, Vladimir uses a play with music, sets, music and costumes in order not to break the rhythm of the play.

The first time Vladimir has staged the play was in 2010. Since then, some slight changes have occurred but not major (the televisions were suspended above the stage, cables were falling everywhere...). If he had something to change today, he will be more confident concerning the actors and the text, it will be more uncluttered, less frontal.

Stage director: Vladimir Steyaert

Actors: Charlotte Duran & Anthony Breurec

Scenography: Rudy Sabounghi

Music: Gio Garcia

Video: Eric Petrotto aka VJ Raize

Lights: Cyrille Chabert

Web: http://debris.pagesperso-orange.fr/

Un Ennemi du people, Ostermeier

This play is introduced as frontal and political even before it starts. When the audience gets in the TNP, it finds itself before a big screen on which a text is projected. This text, taken from L’Insurrection qui vient written by the “Comité invisible”, is indeed very political and controversial and puts us in the right mood for the play.

This text spoken by the Doctor Stockman in the end of the play, even thought it isn’t from Henrik Ibsen, and it is not the only modification of the text. As usually Thomas Ostermeier doesn’t hesitate to change the original text, to make it more up-to-date, and to make it suitable with his greater project of staging. Nevertheless, some germs of revolt were in the original text, and that’s why T. Ostermeier chose to stage this play rather than another.

Here is the story, imagined more than a century ago, but that could have happened yesterday: a doctor, Dr Stockman, discovers that the water of the recent thermal baths is polluted by some factories. He informs his brother, the mayor, who refuses either to sanitize the thermal baths or to close them, because it would cost the city and its dwellers to much, in terms of money. Preoccupied by the inhabitants and people coming on purpose to heal to the thermal baths, Dr Stockman requires a newspaper’s help, which the journalists are eager to offer. But then, this politically involved newspaper steps back on the question, for economical interest again…

Dr Stockman is then shown as an “enemy of the people”. It leads him to doubt about press, politics, nowadays society, using the text we saw in the beginning in public, in a kind of lecture. To be able to attend this lecture, the others characters join the audience. After a speech about the falseness of democracy, the journal editor, confronts the audience and asks who agrees. Warmed up by the emphatic speech of the defender of the right, most of the hands raises. Then, he gives his microphone to whoever wants it, wanting for an explanation.

         Thus T. Ostermeier creates a striking moment in which we are forced to participate, and especially to think and tell about our opinions after having cheered almost automatically. I think the gesture and what it triggers afterwards was more important than the content of the immediate thoughts of the TNP audience that night, who mainly uttered clichés. Some couldn’t rationally explain their agreement, some mentioned the “mediator” scandal, others were ready to put the democracy down immediately. This also shows from the part of the audience a need for participative democracy. Anyway this left us with a bitter taste, made us think the matter over during and after the play, and led to debates after the show.

This was the most remembered moment because we were involved, but one should also remember what came before and after. The scenery was really smart, very evocative without being too naturalistic. No technicians were needed to change the set and the actors managed to bring us to very diverse places only with a few changes. The newspapers office was suggested only with two desks and chairs, during the lecture, we could see a tribune, which was easily turned into a refrigerator to get back to the play and to the Stockman’s living room. The costumes were made to help us identify contemporary social groups (such as a tuxedo for the mayor, converses shoes and yellow skinny jeans for the young rebelish journalist…).

Once again, T. Ostermeier manages to be polemic without providing a clear answer. Indeed he changed Ibsen’s ending to leave the hero doubting. But the political side doesn’t alter the theatrical values with a very rhythmic play animated by talented actors.

Amal Kebaïer

« Django Unchained », the dream project of Quentin Tarantino

  

First of all, allow me to wish you a Very Happy New Year 2013… Well, ok, it’s February, but it is never too late, isn’t it?

            The beginning of our second semester in Cultural mediation is focused on numeric arts and I realized that we’ve never written an article on cinema on this blog which is a shame because:

1.      Cinema is an art, the last but not the least

2.      It is possible to do the cultural mediation of a movie

3.      Cinema as theatre gives us the opportunity to talk about the work of different artists: the director, the actors, the composer…

I’ve recently seen “Django Unchained” by Quentin Tarantino and I thought that the movie was worth an article on this blog. I will only give you an as-much-as-possible-non-spoiling synopsis of the film and a few historic and cinematographic details to help you understand the film. Finally, you will find a link of a very complete and interesting interview of Quentin Tarantino by a university professor and co-founder of the website specialized in Afro-American culture, Henry Louis Gates Jr.

SYNOPSIS :

The film takes place in the year 1858, in the South of the United-States. A former German dentist now bounty hunter, Dr King Schultz is looking for the murderous Brittle Brothers. The slave, Django, is the only one who can lead him to them as the Brittle Brothers used to be supervisors in the plantation where Django worked. Honing vital hunting skills, Django remains focused on one goal: finding and rescuing Broomhilda, the wife he lost to the slave trade long ago. Django and Schultz's search ultimately leads them to Calvin Candie, the proprietor of "Candyland," an infamous plantation. Exploring the compound under false pretenses, Django and Schultz arouse the suspicion of Stephen (Samuel L. Jackson), Candie's trusted house slave. --

INTERESTING FACTS YOU NEED TO KNOW :

1. 1858: we are two years before the Civil War opposing the Northern States of the Union to the Southern Slave States of the Confederacy that seceded. The causes for this war are numerous and it would be inaccurate to say that it was all due to slavery. However, slavery was one of the major reasons of this conflict. For Northern States, slavery was anti-constitutional and therefore must stop. However, in Southern States which were less industrialized than Northern States and whose economy relied on agriculture, slaves were essential. It was, according to them, a constitutional right to own slaves. This opposition and many others led them to secede from the Union and finally, war erupted after Lincoln won the election in 1860 without being present in the ballot of nine Southern States.

2. Mississipi is a Southern State. The economy of this State relied on cotton that allowed plantation owners to become extremely wealthy and consequently gave them the power to buy more and more slaves. By 1860, the enslaved population numbered 436,631 or 55% of the state's total of 791,305. The planters' dependence on hundreds of thousands of slaves for labor and the severe wealth imbalances among whites, played strong roles both in state politics and in planters' support for secession. Mississipi was the second State to declare secession from the Union on January 1861.

3. The Western Spaghetti: it’s a pejorative name given by American Cinema professionals to Western films realized in Italy. What are the features of a Western Spaghetti?

a.      First of all, it is not a fight between Good represented by the White Cow-boy that conquered the Wild West and the Evil represented by Indians and Mexican bandits. Though Django is a former slave and should help his kin and do the Right thing because you don’t do to others what you didn’t like others did to you, he is not at all like that. At the very beginning of the film, Django says that killing White men for money is a dream job for him and the struggle with his conscience lasts, I would say, 2 minutes !

b.      Violence is everywhere in Western Spaghetti whether it is a duel or a hanging… The problem with “Django unchained” is that we don’t know if the violence comes from Quentin Tarantino (remember Pulp Fiction or Inglorious Basterds?) or from the genre of the film. We will just say that Tarantino has finally found his perfect genre. In “Django Unchained”, you obviously have lots of duels but also scenes of pure violence (SPOILERS: like this poor slave eaten alive by dogs or, and this is just so cool for an actor to do so, Jamie Foxx who blows up Tarantino).

c.      Aesthetically, it is common to find in those films wide camera angles with massive Western landscapes  but also more innovative angles such as the  low angle shots, filming the scene through a window with its frame apparent or through a rope or close-up framing. You will find these three features many times in Tarantino’s film (SPOILERS: there is a scene filmed through a rope, near the beginning of the film)

d.      The soundtrack of course is quite memorable in Western Spaghetti and the first name we think of is Enio Morricone. Enio Morricone takes part in the soundtrack of “Django Unchained” and you always recognize his music. What is striking in the film is that you are expecting a traditional Western Spaghetti, you read “music – Enio Morricone”, ok, and suddenly you have this Rap music, completely out of of the blue but which perfectly fits the moment! This association is astonishing.

e.      Finally the use of flashbacks to help understanding the main character. Tarantino used them to relate the love story between Broomhilda and Django and what led them to be separated.

Finally, I invite you to visit that page which is a very complete interview of Tarantino which focuses on racism and Slavery with some interesting extracts from old films such as The Birth of a Nation by D.W Griffith, one of the most racist films, released in 1915: http://leplus.nouvelobs.com/contribution/764530-django-unchained-un-reservoir-d-emotions-postmodernes-a-la-sauce-tarantino.html

ANASTASIA’s POINT OF VIEW :

After having revisited history with World War Two in Inglorious Basterds, Quentin Tarantino attacks this time American History and Slavery. Those two movies have much in common: long dialog scenes,  very absurd comical scenes and also tragical scenes. The fact that Quentin Tarantino juggles with very different emotions during almost three hours can be very disconcerting for the spectator, I almost feel uncomfortable - one moment you laugh because of the comic aspect (like the beginnings of the Ku-Klux-Klan and their hoods which make them unable to see anything, or the valet clothes of Django...) and the moment after the tragical situation and the serious context of the action gets the upper hand (like when a slave is eaten alive by a dog...).

The only way to feel less uncomfortable is to look at the « revenge » aspect of those two movies. Quentin Tarantino creates perfect heroes: Django, former slave saved by the kind German Doctor Schultz (the mind-blowing Christopher Waltz again). The « good » are moved by love against the « bad » slaveholders who are only moved by hate, the love story between the two slaves is the common thread in the middle of all this violence.

I would not say this is the best Quentin Tarantino's movie, but if you come see it for the show, you won't be disappointed.

TIFFANY’s POINT OF VIEW :

I am not the ultimate Tarantino’s fan but I must admit that he’s doing pretty good for his last couple of movies. Dealing with history suits him. First with “Inglorious Basterds” and the Nazis and now with “Django Unchained” and slave owners, he relates the History maybe not accurately but violently and honestly.

The scenes of violence you can find in the film (I think I’ve covered my eyes for at least one fourth of the film!) surely happened in these times and showing the violence against Black people was more and more used by abolitionists in the 1850s to appeal to the feelings and mercy of American people and to make them react and finally say “no more”.

You’ll find all the clichés of Western Spaghetti: flashbacks, closing-up framing, duels, violence, and dark sense of humour…. Of course, the success of the movie is not only due to this revisiting of the genre but also to the wonderful cast and I must say that I am pretty fond of Dr King Schultz and his lovely cart…

Ceci n’est pas une ampoule

Manifestation organisée par l’université

dans le cadre de la Fête des Lumières

A l’occasion de la Fête des Lumères, l’université organise une exposition au Musée des Moulages afin de mettre en avant la production artistique d’étudiants et de jeunes artistes de la Région Rhône-Alpes.

Afin d’en apprendre plus sur cet évènement, nous vous invitons à consulter les flip-books ci-dessous, en Français ou en Anglais.

Bonne fête des Lumières à tous et n’oubliez pas d’aller jeter un oeil du côté du Musée des Moulages (non loin de la fac... pratique, n’est ce pas?).


As part of the Festival of Lights, the université Lumière Lyon 2 organizes an exhibition at its Musée des Moulages in order to promote artistic creations of students and young artitsts of the region.

If you want to know more about this event, please check our flip-books just below. There are a french as well as an English informative booklet.

Have a good festival and don't forget to check on this exhibition at the Musée des Moulages.

"Ceci n'est pas une ampoule" organisée par l'Université Lumière Lyon 2

Publish at Calameo or read more publications.

This is not a light bulb organized by the université Lumière Lyon 2

Publish at Calameo or read more publications.

Déluge en Décembre: rencontres festives autour de la musique électroacoustique au théâtre de la Villa Gillet

Déluge en Décembre: festive gathering around the electroacoustic music at the theatre of the Villa Gillet

Dans le cadre du projet ECOUTEZ LA VILLE, le Groupe Musiques Vivantes de Lyon basé à la Villa Gillet organise deux soirées concerts présentant des compositions, des installations sonores et des films créés par des artistes Français et internationaux, le Mercredi 5 Décembre et Jeudi 6 Décembre 2012 à partir de 18h00.

LE PROGRAMME DES DEUX SOIREES:

MERCREDI 6 ET JEUDI 7 DECEMBRE A 20H00: CONCERT (plusieurs petites compositions d’artistes français et internationaux)

MERCREDI 6 ET JEUDI 7 DECEMBRE A PARTIR DE 18H00: INSTALLATIONS SONORES telles que Urbaphonie par Emeric Priolon et Un Chien Andalou par Julien Lagier

POURQUOI VOUS DEVEZ ALLER Y FAIRE UN TOUR:

Parce que c’est pas le genre d’évènements où on s’assoit et on écoute… Bon, ok, durant les concerts, en effet, on s’assoit et on écoute mais il n’y a pas que ça de présenté Durant ces deux soirées. Il y a également des installations sonores disséminés dans les salons de a Villa Gillet qui est une maison à l’architecture majestueuse.

Vous pourrze composer votre proper paysage sonore grace à une table et un casque. Vous pourrez jouer avec une “boîte à son”dont le son change à mesure que vous la retourner (vous vous rappellez pas cette superbe boîte à meuuuuh que vous aviez à cinq ans? C’est pareil mais avec plus de sons). Et vous pourrez passer un coup de fil grace aux deux telephones vintages présentés.

Quant aux concerts, ce sont une succession de petites compositions, certaines accompagnées par des projections videos. Ca vaut le coup d’y assister.

PROJET ÉCOUTEZ LES VILLES:

L’objectif de ce projet réalisé dans le cadre du programme de partenariat européen Grundtvig, est de promouvoir la mobilité internationale, à accroître les compétences et les expériences à travers l'écoute de paysages sonores et la discussion sur la communication acoustique dans les contextes urbains.

Le projet ECOUTEZ LES VILLES essaye de comprendre comment perçoit-on l'évolution et les transformations urbaines par l'écoute des sons de la cité ?  Comment analyser et comparer le contexte urbain  dans le temps, et en corrélation  à d'autres contextes européens situés dans différentes aires géographiques européennes géographiques ?  Comment communiquer et enseigner ces sujets ?

L’interaction entre les différents partenaires du projet génère plusieurs types d’activité: des évènements de discussions et d'échanges, des présentations et écoute d'ambiances sonores venant de différentes villes, la conception d'installations sonores et des activités pédagogiques pour les adultes sur les thèmes du paysage sonore; Des séminaires et des tables rondes organisés par les partenaires dans lesquels sont spécifiés les résultats de travaux de recherche et les développements possibles de nouveaux champs d'expérimentation

Les partenaires:

Tempo Reale, Florence (Italy) – coordinator

Alte Schmiede, Wien (Austria)

EPHMEE, Corfu (Greece)

GMVL, Lyon (France)

University of Salford, Salford/Manchester (England)

Nuit-concerts:

Concerts, Mercredi 6 et Jeudi 7 Décembre à 20h00

Installations sonores, Mercredi 6 et jeudi 7 Décembre à partir de 18h00

GMVL

25 rue Chazière - 69004 LYON
Tel: 04 78 28 69 10
Mail: contact[at]gmvl.org

En métro : Métro C, arrêt Croix-Rousse.
Descendre le boulevard de la Croix-Rousse jusqu’à la rue Chazière à droite. Direction Parc de la Cerisaie.

En bus :
› depuis Hôtel de Ville : bus C13 ou C18, arrêt Les Esses
› depuis Croix-Rousse : bus S4, arrêt Résidence le Parc ; bus 2 et 45 arrêt Clos Jouve
› depuis Valmy et le quai Gillet : Bus 2 et 45, arrêt Les Esses

As part of the project LISTENING CITIES, the Groupe Musiques Vivantes de Lyon based at the Villa Gillet will host two concert-nights presenting compositions, installations and films created by French and foreign artists, on Wednesday December 5^th and Thursday December 6^th 2012 from 6.00pm.

PROGRAMS OF THE TWO CONCERT-NIGHTS:

WEDNESDAY 6^th AND THURSDAY 7^TH AT 8.00 PM: CONCERT (several compositions by French and international artists)

WEDNESDAY 6^th AND THRUSDAY 7^TH FROM 6.00 PM: SOUND INSTALLATIONS such as Urbaphonie by Emeric Priolon and Un Chien Andalou by Julien Lagier

WHY IS IT INTERESTING TO ATTEND IT?

Because it is not only a kind of events during which you passively sit and listen. Well, yes, you’ll sit and listen during the concerts but there are also lots of interesting and bizarre sound installations dispatched throughout the Villa Gillet which is a sumptuous house.

You will compose you own soundscape thanks to a keyboard, you will play with a “boîte à son” which you turn over and over to listen to different sounds (actually, it’s like a “boîte à meuuuuuh” but with multiple sounds) and maybe you will make a call using the two vintage phones installed.

As for the concerts, they are a succession of short compositions some with video projections. It’s worth a try!

LISTENING CITIES: 

The purpose of this project, carried out in the Grundtvig Partnership program, is to promote the international mobility to increase the competences and the experiences through the listening of soundscapes and the discussion on the acoustic communication in the urban contexts.

The project LISTENING CITIES tries to understand how does the city change, beginning from an analysis of perceived sounds? How does the urban context of affiliation develop itself in the time and in relationship with its location to other situated contexts in other European geographical areas? How to communicate and to teach these topics?

There are various types of activities included as a result of the interaction between the different partners: Discussion and exchange events, presentations and listening of sound contexts coming from different cities, realization of sound installations and formative activities for adults about the sound landscape themes.

Partners:

The project is carried out by the following partners:

·         Tempo Reale, Florence (Italy) – coordinator

·         Alte Schmiede, Wien (Austria)

·         EPHMEE, Corfu (Greece)

·         GMVL, Lyon (France)

·         University of Salford, Salford/Manchester (England)

Concert-nights:

Concerts, Wednesday 6^th and Thursday 7^th at 8.00pm

Sound Installations Wednesday 6^th and Thursday 7^th from 6.00pm

GMVL

25 rue Chazière - 69004 LYON
Tel: 04 78 28 69 10
Mail: contact[at]gmvl.org

Subway: Métro C, arrêt Croix-Rousse.
Follow boulevard de la Croix-Rousse to the rue Chazière à droite. Direction Parc de la Cerisaie.

Bus:
› depuis Hôtel de Ville : bus C13 ou C18, arrêt Les Esses
› depuis Croix-Rousse : bus S4, arrêt Résidence le Parc ; bus 2 et 45 arrêt Clos Jouve
› depuis Valmy et le quai Gillet : Bus 2 et 45, arrêt Les Esses