François Chaignaud & Nino Laisné
Fri 07.1020:00 - 21:10met nagesprekTHEATERZAAL
Sat 08.1020:00 - 21:10with audiodescription and feel tourTHEATERZAAL
‘Romances Inciertos, un autre Orlando’ is both a musical concert and a vocal performance, in three acts, like the echo of an opera ballet. We see appear one after another: La Doncella Guerrera, who takes us, in a medieval setting, on the trail of a young girl who has gone to war disguised as a man; Garcia Lorca’s San Miguel, the voluptuous archangel, object of devotion, as ornate as he is full of pain, carried during ritualized processions of the Semana Santa; and the Tarara, an Andalusian gypsy who, after a disappointing love affair, wavers between mysticism and seduction, hiding a secret androgyny.
‘Romances inciertos’ is an estuary, a delta. A zone which is hard to locate on the map, at the confluence between Spanish music of oral and “erudite” traditions that inspires dances, poems and mini-epics whose heroines play roles that are not their own. The stories of these characters, caught in a perpetual movement of metamorphosis, ambiguity, insistent imposture and burning indecision, are reflected in the very destiny of the melodies attributed to them. Romances Inciertos stages these two trajectories: the rebirth of the characters who have no choice but to transform reality to suit their desires – and the infinite mutation of musical motifs through the centuries. The uncertain identity of these figures is mirrored by the musical fusion.
Most of these melodies appeared during the 16th and 17th centuries in Spain. Since then they have been ceaselessly interpreted, modified, transformed. Each culture as well as each period re-appropriated these poems, constantly bringing the adventures of their heroines into the present. This is how these melodies, which come from the art of romance, from Sephardic songs or the jota, were introduced into Baroque music, Andalusian flamenco or even the transvestite cabarets of the Movida. The coplas – or verses – themselves were multiplied, and in the shadows of the most well-known versions of them, traces of bawdy popular song verses can be found in the archives, vestiges of the marginal destinies of these figures. The four soloists retrace these paths, borrowing from melodies originally written for other instrumentaria, boldly reconciling timbres reputed to be incompatible: the bandoneon fancies itself a harpsichord, the viola da gamba drones dolorous zambras, the percussion invites itself into sacred music and Baroque reminiscences of Sevillana marches emerge in the hollow of the theorbo.
The stage, encircled by tapestries whose weave combines multiple historical representations of nature, creates a landscape around the five performers. The dance erupts, renews itself and disturbs: both sister and rival to the music, it plays the role of impure art and challenges the body to exist in the present context. Simultaneously artificial and real, it attempts to attain impossible altitudes in a balancing act freed from gravity. The gestures are trapped in the gulf between “traditional” dances and their academic avatars – following in the footsteps of these choreographic mutations, whose history oscillates between plunder and inspiration.
It is therefore an adulterated, iridescent delta, on which the unexpected silhouette of Virginia Woolf’s Orlando appears to scintillate. But this particular Orlando is no longer a young lord of the royal court of England, who lives for four centuries and regularly falls into a deep sleep. He devotes his entire life to the writing of one and only one poem that reflects the colors of the periods he lives through and echoes the infinite mutations in art and society. As in the novel, we are in the presence of a character prone to eclipsing, who suddenly disappears only to reappear again in the guise of a woman, elsewhere in space and time.
Through the challenge of song and dance, this other Orlando dives into an epic form whose incessant metamorphoses never satiate the quest for an ideal form.
Welcome at the after-talk (Fri 07.10)
There will be a short after-talk on Fri 07.10. BEBE BOOKS (organisation in residence at VIERNULVIER) will have a short chat with François Chaignaud & Nino Laisné about the performance, their inspiration and their new projects. You can also ask questions yourself. This conversation will be in ENG.
“Francois Chaignaud’s androgynous talent rules Avignon”
concept, staging and musical direction: Nino Laisné - concept and choreography: François Chaignaud - dance and vocals: François Chaignaud - bandoneon: Jean-Baptiste Henry - viola da gamba: Robin Pharo - theorbo and baroque guitar: Daniel Zapico - historical and traditional percussion: Pere Olivé - lighting design and general direction: Anthony Merlaud - sound engineer: Charles-Alexandre Englebert - tailor on tour: Cara Ben Assayag - costume design: Carmen Anaya, Kevin Auger, Séverine Besson, María Ángel Buesa Pueyo, Caroline Dumoutiers, Pedro García, Carmen Granell, Manuel Guzmán, Isabel López, María Martinez, Tania Morillo Fernández, Helena Petit, Elena Santiago set designer: Marie Maresca - painter: Fanny Gaudreau - retouching images: Remy Moulin, Marie B. Schneider - construction: Christophe Charamond, Emanuel Coelho - administration/production/diffusion france: Mandorle productions (Garance Roggero, Jeanne Lefèvre, Léa Le Pichon) - international distribution: A propic - Line Rousseau & Marion Gauvent