The Metaphysical Voice & The Boots of Innocence

The Metaphysical Voice & The Boots of Innocence

Nate Speare – a Brooklyn-based actor, director, playwright and astrologer, with serious knowledge of James Hillman’s work and ideas – sends news that “his Reagan is being revived per invitation of Dixon Place, lower east side in Manhattan, on November 4th (2017)”. I directed the piece some years ago as part of a training and study residence Nate did with Pantheatre. He took over the Pantheatre library and worked on a great archival catalogue. He also wore, performing Reagan, a pair of old black cowboy boots I lent him for the occasion. The piece contains docu-fictional revelations on Reagan’s Alzheimer’s fantasies – and on the fact that Nate when a kid was a fan of Ronald Reagan, if only to annoy, be contrary and imp-pertinent with his liberal East-Coast father. Nate is revising his Reagan to integrate the new presidential delirium: a ‘trumped up’ version of a tragic-comically ‘trumped-down’ piece: Reagan’s Alzheimer’s was actually, and in spite of being very funny, a terrible descent into hell.

Probably at exactly the same time when Nate sent me his email, I was directing an actor and theatre teacher in our Paris professional laboratory. We were going to tackle his working text for the first time. I asked him to lie down on his back, close in front of the audience and, before starting, to sigh deeply and calmly, for quite a while, relaxed and relieved. I had no idea what text he had chosen.

The following paragraphs comment and analyze a directorial session, weaving in psychological and philosophical threads. The integration of text into both choreographic theatre and voice performance is the “cherry on the cake” of my work, the core and cutting-edge of what I actually mean by voice work. It is also where I have taken, amongst other sources, Roy Hart’s voice philosophy, and it is in line with a post-modern (Derrida-like) definition I particularly like, by Italian philosopher Giorgio Agamben: “Listening to the voice in speech is what thinking is all about”.

Lire la suite

Publicités

Cœur Sauvage / Voix Sauvage

See English original
Traduit de l’anglais
remerciements à Véronique Taconet et Pierre Jeammes.

Réflexions critiques à propos d’une performance de Waltrud Höfinger,
intitulée: Not a Song (Non pas une Chanson) –
une performance personnelle, poétique et musicale sur la voix,
présentée à Malérargues, Centre Roy Hart, en août 2017.

Le titre de cet article est inspiré d’un livre de l’écrivain brésilienne Clarice Lispector, intitulé Near to the Wild Heart (1943), Près du Cœur Sauvage. Linda Wise, compagne, metteur en scène, actrice et professeur, l’étudie pour un projet de spectacle. Elle l’a décrit comme «le livre le plus sauvagement introverti qu’elle ait jamais rencontré».

Nota : le mot « sauvage » en français peut se traduire en anglais par deux mots : savage qui est trop « sauvage » justement, voire cruel, brutal, sans-manières, et par wild (le mot dans l’original anglais), qui est moins agressif et se réfère à un état de nature sauvage, non civilisée, non domestiquée – libre, en ce sens.

Lire la suite

Wild Heart / Wild Voice

Comments and reflections after a performance by Waltrud Höfinger titled: Not a Song, A personal, poetical, musical performance about voice, performed at Malérargues, Roy Hart Centre, August 2017.
The title of the article is inspired by a book by Brazilian writer Clarice Lispector, titled Near to the Wild Heart (1943). Linda Wise, companion, theatre director, actress and teacher, who is studying it for a possible performance project, described it as “the most wildly introverted book she had ever come across”.

Lire la suite

The Unexpected Voice: EGYPT, Mother of all Fiction

Expanded from a lecture delivered in Torino:

IL GENIO DRAMMATURGICO ORACOLARE
The genius of oracular dramaturgy

14 luglio 2017 – Cavallerizza – Torino. Lecture by Enrique Pardo: on the occasion of a visit to the Museo Egizio, the director proposes a meditation on the invention of religions in Egitto, mother of all fictions. Special gratitude to the Cavallerizza I-REALE occupata for its hospitality.

 

 

Museo Egizio Entrance

The town of Torino has the surprising reputation of being one of the Europe’s capitals of magic. This is due especially to its Egyptian Museum, product of the fascination with Egypt in the 19th century after Napoleon’s expeditions, which were Masonic-driven enterprises to a large extent, seeking for the source and prestige of Egyptian esoteric magic. Bernardino Drovetti, a highly colorful and animoso (fiery) character joined Napoleon’s Egyptian party, to then remain in place as French proconsul and thus obtain all the permits needed to organize archeological digs, send them back to

Sr Drovetti

Italy (he was from Torino…) – or sell them all over Europe. Later, in the 1890s, Sr. Ernesto Schiaparelli an archeologist of high repute, senator to the monarchy, expanded the Torino museum with his own extraordinary discoveries (he found Nefertiti!): he was particularly lucky to stumble upon the village of the artisans who built the palaces and temples of the Valley of Kings, and Queens. These sites were intact, preserved under desert sand. The atmosphere in Turin when the cases arrived and were opened was, well, “magic”.

Here are some reflections on the occasion of the visit to the Museo delle Antichità Egizie di Torino, organized by Piccola Compagnia della Magnolia who invited Linda Wise and me to direct a professional theatre course as part of their project Alta Formazzione MAESTRALE 2017. First class hosts and first class participants (the organizers’ choice.) Our project addressed Divinatory Theatre – and more precisely Il genio dramaturgico oracolare (The genius of oracular dramaturgy). I am a great believer, especially in laboratory contexts, in the maxim that says: “If you write “devil” on the wall, the devil will appear”. We wrote “Egypt”.

Lire la suite

Teachers, Cheaters, Gurus and Mentors

Voir traduction française.

5  sections
1 – BLUEPRINTS & DIPLOMAS
2 – DIRECTORS & DIRECTIONS

3 – MENTOR
4 – ART & THERAPY
5 – WHY ROY HART ?
6 – CASUISTIC CONSULTATIONS

see comments & echanges with Steven Levine and Sean Lewis, below.

1 – BLUEPRINTS & DIPLOMAS

Teachers, Cheaters, Gurus and Mentors: Roy Hart was all of these, and more, like most great guiding figures. Each of these designations has its own mindscape and values; how to differentiate them? How to gage the balance and interplay of their inherent blueprints and moods – their evolution in time and the influence of other models, current or historic – sometimes unacknowledged, sometimes unknown? And how to do this in Roy Hart’s case, more than forty years after his passing? The following are “post-Roy Hart” reflections written as part of a process of reviewing and revisioning the transmission of Roy Hart’s legacy, especially by the persons now actively linked to the Roy Hart International Artistic Centre. The place is important since the process is, precisely, taking place in Malerargues, a property and a château purchased in 1974, only months before Roy Hart’s passing[1], a place – real estate – which to a large extent kept the group that followed him together, at least for some time, for better and for worse – and which today includes mostly persons who never met Roy Hart. Lire la suite

Hammond & Soul (English)

Version française (en cours)

An original Hammond Organ. See footnote 1.

Hammond Organ [1] was the title of a concert on July 26, 2017, given at Lasalle, in the South of France, the neighboring village near Chateau de Malerargues. The concert was organized by the United Protestant Church of the Val de Salindrenque.

We are in Protestant country and the village of Lasalle (barely over 1000 inhabitants – in Winter!) must have over ten Protestant temples lined up along its single two-miles long street, all of different confessions. The subtitle of the concert says: From the psalms to Negro-spirituals and to XXth century Gospel, with the Hammond organ and organ player JP Delrieu. 1517 – 2017 : 500 YEARS of influences in the evolution of music in the world [2]. PRESENTATION.

Forewords

Written before the concert. Afterwords below

James Hillman once said to me: “It is important to be Protestant once a week”. He was Jewish, and I was (am?) Catholic (we are talking culture here, not religion.) If there is one title that James Hillman absolutely deserved, certainly in our times, it is that of being “The King of Soul” (yes, up there with Salomon Burke and his own Hammond). In fact in an editorial of an issue of Hillman’s Spring – A Journal of Archetype and Culture, the then acting editor, Charles Boer, at his imp-pertinent best, wrote that James Hillman should have the copyright on the word soul[3]! He was addressing, obviously, white American high culture and psychotherapeutic circles[4], because by then the word SOUL had taken over black American and world popular culture. It was African-Americans who brought back the word SOUL, causing the revolution we all know, in music, in singing – and in musical theology: notice the close call between singing and sinning! Popular soul was black.

At the very same time and in a completely different context, Roy Hart was quoting the 19th century American romantic poet Henry Longfellow: “The voice is the muscle of the soul”.

Now for some reflections on the chain of synchronicities leading to and spinning off from these seemingly disparate cultural landmarks.

Lire la suite

Hammond & Soul (Français)

English version (full article)

L’Orgue Hammond [1] est le titre d’un concert programmé le 26 juillet 2017 à Lasalle, le village voisin du Château de Malérargues, dans le Gard. Le concert est organisé par l’Eglise Protestante Unie du Val de Salindrenque. Nous sommes en pays protestant, camisard même. Il doit y avoir à Lasalle au moins dix temples protestants, de confessions différentes, alignés le long d’une rue unique, longue de deux kilomètres. Le sous-titre du concert dit: Des psaumes au Negro-spiritual et au Gospel du XXe siècle avec l’orgue Hammond et l’organiste JP Delrieu. 1517 – 2017 : 500 ANS d’influences dans l’évolution de la musique dans le monde[2]. INFORMATION.

James Hillman m’a dit une fois: « Il est important d’être protestant une fois par semaine ». Il était juif, et j’étais (je suis ?) catholique – je parle ici culture et non croyance. S’il y a un titre que James Hillman aurait absolument mérité, surtout à notre époque, c’est celui d’être The King of Soul (Le Roi de la Soul, âme/anima – oui, là-haut ou là-bas, avec Salomon Burke et son orgue Hammond.) En fait, dans un éditorial des années 1980, dans la revue qui lui appartenait, Spring – A Journal of Archetype and Culture, le rédacteur en chef d’alors, Charles Boer avec son im-pertinence habituelle, écrivait que James Hillman devrait avoir les droits d’auteur sur le mot soul ! Il s’adressait, bien sûr, aux cercles intellectuels et psychothérapeutiques blancs aux Etats-Unis, car, le mot SOUL dominait alors la culture populaire noire américaine, et mondiale. Ce sont les Afro-Américains qui ont ressuscité le mot SOUL, provoquant la révolution que nous connaissons tous, dans la musique, dans le chant – et dans la théologie musicale: en anglais il n’y a guère qu’une lettre qui sépare pécher de chanter (singing / sinning)! La soul, l’âme, était noire. À la même époque et dans un contexte complètement différent, Roy Hart citait le poète romantique du 19ème siècle américain, Henry Longfellow: «La voix est le muscle de l’âme».

A présent regardons de plus près les synchronismes historiques qui relient ces réflexions culturelles. (Traduction française en cours. Article complet en anglais.)

[1] L’orgue Hammond est un petit orgue électromécanique créé en 1935 aux USA, originalement conçu surtout pour les églises qui ne pouvaient pas se payer un orgue à tuyaux. Il fut adopté par les musiciens de jazz et devint le son rock et soul par excellence. A présent la marque appartient au japonais Zusuki, avec de nombreux clones numériques.

[2] Les 500 ans sont ceux depuis la publication en 1517 par Martin Luther de ses 95 thèses contre Rome qui déclenchèrent la Réforme Protestante.

Emotional Pornography and Democracy in America

Lacura, by Bibiana Monje
Democracy in America, by Romeo Castellucci

Enrique Pardo, Bilbao, April 2017

  LACURA : TRAILER | CRITICAS  
Traduccion al español pronto
Traduction française bientôt

This article follows-up on a first post on LACURA, the performance of and by Bibiana Monje presented in Madrid in November 2016 as an avant-première I described as a Miraculous Catastrophe  [1]. It was then premièred in Bibiana’s native Canaries Islands on March 17, 2017, this time ‘after the catastrophe’: the computers and multi-media effects behaved impeccably, plus, Linda Wise and I did some fine-tuning with Bibiana on some of the lessons learnt in Madrid on miracles and catastrophes. LACURA is turning into a big success, expanding beyond The Islands, as the locals call the Canaries, into La Peninsula – the Spanish mainland – and beyond. In this article I wish to focus on something that was picked up and commented by the critics, and which I consider essential to my sense and ambition of performance, something that one of the articles went as far as to put in terms of “emotional pornography”.

Lire la suite

Festival 2017 : Tirésias

  GO TO PDF ENGLISH VERSION 

Voix Oraculaire – Voyant Aveugle – Transsexuel

Editorial / Enrique Pardo

rub-mt17-tiepolo-200blog-frTirésias est un étrange et inquiétant personnage : peut-être le plus grand devin de l’Antiquité, craint pour ses révélations et ressenti comme de mauvais augure : porte-malheur, trouble-fête, rabat-joie, pestiféré à sa façon. Mais il faut bien se rendre à l’évidence : il s’agit d’une figure de vérité, et la méfiance qu’il suscite a pour origine une peur panique devant la clairvoyance de son regard aveugle[1]. Qui plus est, dans les tréfonds de nos mémoires intuitives, nous savons que sa voyance est quelque part liée à ses métamorphoses chamaniques[2] – transsexuelles. Lire la suite

Dionisio en Chile Perfeccionamiento Vocal

English   |     Français

por Enrique Pardo

“Perfeccionamiento Vocal”
Escuela de Teatro / Universidad de Chile
Propuesta de Pantheatre Chile

Un análisis mito-pedagógico del VIDEO de presentación del
Programa de “Perfeccionamiento Vocal”

se recomienda ver el video primero / o durante la lectura

Sirenas VER EL VIDEO 

0:00   Primera escena: dos sirenas muy guapas (estas no son sirenas-peces: ¡estas tienen alas!) le dan mil vueltas a una mujer, algo deslumbrada. Se ríen, caracolean y la marean con vitalidad y alegría. ¡Vaya lujo!: dos profesoras para una alumna, ¡y como se divierten! – (“sin los maridos”, sugiriere la maestra…) Lire la suite