| Line 78: | Line 78: | ||
[[image:MAWL.jpg|right|150dpx]] | [[image:MAWL.jpg|right|150dpx]] | ||
| − | By means of a | + | By means of a dynamic writing and often musical one the text is heard by contrast. |
| − | From the handbook's gruel that sounds like a commercial advertisement emerge some shreds of meaning that begin to make themselves heard. Spectators who have seen our experiences tell us that they | + | From the handbook's gruel that sounds like a commercial advertisement emerge some shreds of meaning that begin to make themselves heard. Spectators who have seen our experiences tell us that they have entered in a sort of folly that they recognise. There is in each one of us this will to understand that is thrown against the opacity of the world. Furthermore the disposition that we use, between concert and theater play creates an open moment, without a definite formal definition. |
| − | On the course of each performance, according to the different programmes, Manuel embodies himself more and more, one of the interpreters plays him more specifically, he tries constantly to achieve the | + | On the course of each performance, according to the different programmes, Manuel embodies himself more and more, one of the interpreters plays him more specifically, he tries constantly to achieve the comprehension of everything, languages, objects, instructions that he should follow. He dissolves himself in this labyrinth of signs where his own biography becomes polyphonic, he dries up and ends up talking in hieroglyphs…. |
| − | [[Alvaro García de Zúñiga]] | + | [[Alvaro García de Zúñiga]] with his writing, so particular, forces interpreters, spectators to invent. |
| − | We are all much more cosmopolitan then we think, we recognise languages and we walk in the forest of every sound, of every language... and | + | We are all much more cosmopolitan then we think, we recognise languages and we walk in the forest of every sound, of every language... and sense emerges as the entanglement of sensual and sensible. |
[[Arnaud Churin|Manuel-Arnaud Churin]] | [[Arnaud Churin|Manuel-Arnaud Churin]] | ||
Revision as of 12:09, 17 July 2009
Manuel is based on Alvaro García de Zúñiga's radio trilogy Manuel. This programme is made of many extracts of different handbooks mixed with Manuel's own handbook, other texts from Alvaro García de Zúñiga and other ones chosen by him. The basic material is wide and flexible allowing us to adapt each Manuel on Stage to the concrete circumstances.
The result of these performances can therefore vary a lot and take advantage of the participants and their number – up to now Manuel on Stage has been played from 2 till 23 interpreters – of the disciplines they master : acting, music, visual arts, video, the different spoken languages, (the local one always the main, though) and the special guest(s) that may join Manuel.
Manuel est un chantier. a work in progress, un fatras. par Manuel-Arnaud Churin
Manuel Lasuite...
For the moment Manuel is 12 people. Ideal number for the diversity of languages and personalities on stage.
Alínea B. Issilva, Wénic Dominique Pierre Béaruné, Arnaud Churin, Rocco Giordano, Daniel Kientzy, Millaray Lobos, Emanuela Pace, Dominique Parent, Myrto Procopiou, Guillaume Rannou, Yves Rousguisto, Leopold von Verschuer
Directors : Arnaud Churin and Alvaro García de Zúñiga
Manuel Lasuite # Time >< Space
Manuel on Stage "light" theater play. Performances are prepared in some extent locally in 8 days work.
There no scenario, only the same number of music stands and of interpreters.
Manuel will take advantage of whatever he will find. Each performance is unique.
manuel's handbook # description
We are all dressed up, as musician in a classical orchestra. In front of each one of us is a music stand. Each one of us reads his part…
This "chorus", will try to "understand reality through books and vice versa, books through reality and vice vice through reality, reality and versa versa through books, books" (extract).
By means of a dynamic writing and often musical one the text is heard by contrast. From the handbook's gruel that sounds like a commercial advertisement emerge some shreds of meaning that begin to make themselves heard. Spectators who have seen our experiences tell us that they have entered in a sort of folly that they recognise. There is in each one of us this will to understand that is thrown against the opacity of the world. Furthermore the disposition that we use, between concert and theater play creates an open moment, without a definite formal definition.
On the course of each performance, according to the different programmes, Manuel embodies himself more and more, one of the interpreters plays him more specifically, he tries constantly to achieve the comprehension of everything, languages, objects, instructions that he should follow. He dissolves himself in this labyrinth of signs where his own biography becomes polyphonic, he dries up and ends up talking in hieroglyphs….
Alvaro García de Zúñiga with his writing, so particular, forces interpreters, spectators to invent.
We are all much more cosmopolitan then we think, we recognise languages and we walk in the forest of every sound, of every language... and sense emerges as the entanglement of sensual and sensible.
voir aussi :
Manuel à la Maison de la Poésie, or Manuel of home-made poetry &