| Line 22: | Line 22: | ||
[[image:AGZ_SSM2.jpg|200dpx|left|Alvaro García de Zúñiga - photo de Yves Rousguisto]] But it is crazy to want to understand how all this works, it is crazy to want to know everything about an object and the way it is used. Acting like this you will dissolve the object itself, its singularity, by applying to it the immutable principles of the instruction book. This dissolution is a folly that the texts invites you to aprehend. | [[image:AGZ_SSM2.jpg|200dpx|left|Alvaro García de Zúñiga - photo de Yves Rousguisto]] But it is crazy to want to understand how all this works, it is crazy to want to know everything about an object and the way it is used. Acting like this you will dissolve the object itself, its singularity, by applying to it the immutable principles of the instruction book. This dissolution is a folly that the texts invites you to aprehend. | ||
| − | + | It makes us slide in an enunciation of fantasy data and the conference enchants itself with crossings. Sometimes rather linguistic exercice for "Manuel de lalalangue", others rather "Manuel of radio listening (to me)", the texte evolves depending of the frames where it is represented, depending on the progress of the work process and its processing(s). | |
| − | + | Very concretelly the project can be summarized this way: a handfull of actors have decided to accompany '''[[Alvaro García de Zúñiga]]''' in a process of dramatic writting in progression. | |
Revision as of 14:38, 17 July 2009
Manuel is a building site. A work in progress, a jumble fatras. by Manuel-Arnaud Churin
Manuel on Stage - suite or Peaux et Scies (Manuel)
At first the author takes us into a manual, written in every language. But a manual has no author, it is anonymous, like some masterpieces of ancient music. Yet in dramatic writting characters are supposed to escape their inventors. Thus the author who seeks anonymity will be overpassed. Manuel will become the manual character, he will have a "by himself". Because a speech is embodied the moment it is taken on stage, even when it comes from a manual.
It is therefore a conference in different languages in which the subject is from turn to turn books, radio, language, all things to be used according to an instruction book.
It makes us slide in an enunciation of fantasy data and the conference enchants itself with crossings. Sometimes rather linguistic exercice for "Manuel de lalalangue", others rather "Manuel of radio listening (to me)", the texte evolves depending of the frames where it is represented, depending on the progress of the work process and its processing(s).
Very concretelly the project can be summarized this way: a handfull of actors have decided to accompany Alvaro García de Zúñiga in a process of dramatic writting in progression.
En mai 2009 nous avons progressé dans ce processus, à la Maison de la Poésie, à Paris où Manuel au long de trois jours, nous appris à utiliser la poésie, la musique, le théâtre à la radio qui est le théâtre, qui est la radio en fait, et en fin un manuel de langue un concerto pour conférencier en toutes les langues, presque.
Puis à Lisbonne – carrefour de mondes / une programmation de la Ville de Lisbonne.
Voir :
voir aussi :
Manuel à la Maison de la Poésie, or Manuel of home-made poetry