| The Workshop |
11 days work with three free half-days. 7 hours workshops per day, plus evening talks and performances. PLANNING |
Linda Wise : Loose Ends
"I am like a sea gull,I swoop down and pick things up from everywhere."
Vocal Performance - in collaboration with Pierre-Francois Blanchard (piano) and Daniela Molina (movement)
Voice work, including individual time on the extended registers of the voice (including the expressive and timbre Roy Hart approach), leading to disciplines of composition and musicality, in solos and chorus
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Enrique Pardo : Sha Man / Sha Woman
"Good luck to you, artists!"
Choreographic Theatre / in collaboration with Aurelia Hannagan (acting with puppets and objects) and Brenda Sarmen (electronic music and sonology)
Improvisation structures, choreographic composition disciplines, synthesis incorporating texts as well as the choral vocal explorations developed by Linda Wise.
Inclusion of scenic objects and puppets within the context of "The Academy of Boredom" |
Planning
August 7 to 17 2012
Arrivals Monday August 6
D
epartures Saturday August 18
11 days, 3 half-days rest
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9:30 - 13:00 |
Linda Wise |
14h30 - 17:30 |
Enrique Pardo |
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lectures, debates, performances, dinners. |
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Linda Wise : Loose Ends
I've always had a special affection for the collection of essays by James Hillman gathered under the title Loose Ends. The five essays are:
Schism, Betrayal, Longing, Masturbation, Abandonment.
loose end
n (in story, plot): détail inexpliqué - des bouts de choses "ramassés un peu partout".
→ There are some annoying loose ends in the plot.
to tie up loose ends : mettre au point les derniers détails, régler les derniers détails.
→ There are lots of loose ends to tie up in this case.
to be at loose ends : ne pas trop savoir quoi faire
→ Adolescents are most likely to get into trouble when they're at a loose end. |
Enrique Pardo : Sha Man / Sha Woman
During one of my last exchange with James Hillman, he told me: "It takes shamanistic moves to sidestep the control of the Western rational mind." He added something like: "Good luck to you, artists! "
A few years ago I attended at the Sorbonne the post-doctoral seminars of Roberte Hamayan, one of the leading experts in shamanism. On one occasion she commented on the oldest document containing the word shaman - Cha Man – from North China. I took special note of the concept of "commerce with chance", or: "trading with luck.” The document was actually a commercial one. According to Roberte Hamayan, a shaman who basically a lucky hunter. And he remained a shaman as long as his luck lasted! It was therefore essential to talk (and negotiate) with animal spirits. I think this applies just as much to performance.
Why "Sha Man and Sha Woman"? We will talk about this in relation to the notion of anima, so important in James Hillman’s thought. |
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Fee 850€
6 places are reserved for Pantheatre active members - at 650€.
Registration - To apply please include a CV and a letter of motivation. You will recieve an answer as soon as possible.
Confirmation - Deposit : if your application is accepted, your place will be reserved. It will then be confirmed on reception of a 200€ deposit in the name of “Pantheatre".
Refunds are possible until July 7, minus 50€ administrative costs. No refunds after July 7.
Payment - All payments must transit through Pantheatre's bank - except payments posted with French cheques. See http://www.pantheatre.com/pdf/payments.pdf |
Lodging - Book directly with the Roy Hart Centre: email Béatrice David. 240€ : 12 nights at Malérargues.
You can also book into local guest houses, hotels and excellent camping sites . Check PRACTICAL INFORMATION on the website of the Roy Hart Centre
Travel - Malérargues is one hour on bus from NIMES (cost only 1,50 € ). Paris-Nîmes by TGV (3 heurs from Paris or Paris CDG airport) You can also fly into Nîmes (RyanAir then bus), Montpellier (taxi to Malérargues 100 €) or Marseille : there are direct trains from Marseille Airport to Nîmes where you can catch a bus.
Check BUSES from NIMES http://www.pantheatre.com/pdf/buses-thoiras.pdf and practical information of the Roy Hart Centre
Arrivals Monday August 6. Departures Saturday August 18. |
Lectures & Seminars |
| Anna Griève |
Limits and Transgression
Limits, are first of all, that which in the physical world, separate and therefore differentiate. In the world of bodies, one is not the other.
But what about the area of ??the psyche?
Consider the most banal: why do I feel secretly guilty of doing what my parents forbid, even if I do nothing wrong and even if my parents say nothing, or next to nothing? I am different from my parents, since I wish what they do not desire, but at the same time I am one with them. We, them and me are in an undifferentiated state, forming a mixed psychological entity, and any attempt at exiting this unit will feel like a transgression. I sense this limit which is more than a frontier, it is a line not to be crossed, unless with a guilty feeling. It is in fact, though not spelled out, an interdiction.
Taboos and transgression are a recurring theme of myths and tales. Adam and Eve should not eat the fruit of that tree. Prometheus should not bring to men the divine fire. There is in the house or castle a secret room, a forbidden entrance, a locked door… Psyche must not see the face of who is visiting her at night. Melusine's husband must not find out what she does on Saturday....
What links all these prohibitions? What is their purpose?
If the ban is respected, there is no story. But if it is violated, we can enter the story.
Furthermore, why aren’t myths and tales’ big prohibitions of a moral quality? What is the difference between the above prohibited and "Thou shalt not kill" from the tables of the Law?
Or how do the tales’ prohibitions come close to moral values as in the Marquis de Sade’s transgression.
To be born is to begin a differenciation process. How do we keep this process alive? |
Three "short stories" of Kafka.
What is this sixth that seeks to impose itself in the quiet community of five?
What is the secret of those who are in the kitchen? And the son’s secret outside the front door?
What is it this vulture? |
Presentation of the tale "The Goose Girl" - Brothers Grimm
Another took my place
And I am nothing.
O king's daughter who passes there,
If your mother knew this,
Her heart
Would be broken.
"To him who has nothing, what he has left will also be taken away from him."
King's daughter, do you understand that? |
| Enrique Pardo |
James Hillman
Lecture Homage to James Hillman, rlinking his understanding of the notion of anima to the theme "Cha-man, Cha-woman". |
Mobilité Chamanique
" For a long time I faught agains the shamanic model, when posited as superior to the actor model. Time has come for a reappraisal." |
Performances
| Sophie Gourjon |
"Footless Bird" (working title), conceived with and directed by Enrique Pardo. An excursion to the frontiers of womanhood, with the invocation, as mentor, of Tennessee Williams. Sound design by Sarmen.
Programme & Direction Notes |
| Daniela Molina & Pierre François Blanchard |
« L’Autri-chienne », performance created in 2011
See video presentation |
| Aurélia Hannagan |
Open rehearsal of a piece on the figure of Penelope and on the ghosts of Odysseus' return. Writing by Aurelia Hannagan, concieved and directed with Enrique Pardo, music by Sarmen. |
| Marion Rampal with Pierre-François Blanchard at the piano, and Sarah Quintana |
Two-part concert by two wonderful singers. Marion Rampal will be improvising with Pierre-François Blanchard at the piano (their duo at the James Hillman Memorial in Paris was stunning!) Sarah Quintana, from New Orleans, will sing some of her (and New Orleans') repertoire. |
| Pernille Rubner Petersen |
Performance cum concert 25 minutes presentation. |
| Gareth Davies |
A special invitation to Gareth Davies.
He proposes to lead a shamanic ritual with the vocal accompaniment of the participants
with the aim of returning the 'poetic life' to our culture, after the lead given by James Hillman.
And here is the ambition: "It will be a piece of performance art à la Joseph Beuys, Mariana Abramovic and Jim Morrison of The Doors, in that it would involve the vocal presence of all the participants. It will be conducted partly in the oldest language of that part of Europe, using a poem from the year 600 AD. Ideally set on Johannes' Rock, which is a megalithic site and the scene of Camisard marytyrdom. Its intention is to call back Merlin's Fair Song to the aid of our culture, by raising the energies of The Sacred Theatre of the Cevennes, not only to commemorate, but to enlist the help of the ancestors in what, if you wish Enrique, could be a shamanic invocation ritual."
Gareth was born and raised in the Welsh speaking county of Merlin's Castle. He was ordained into the ministry by the Church of Scotland. He trained in Voice Movement Therapy with Paul Newham after the work of Alfred Wolfson, he has also trained in shamanics.
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2011 ARCHIVES with links to the performance programmes
see VIDEOS
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