{"id":26434,"date":"2024-03-12T12:46:40","date_gmt":"2024-03-12T11:46:40","guid":{"rendered":"https:\/\/www.ensembleintercontemporain.com\/?p=26434"},"modified":"2024-03-18T16:00:44","modified_gmt":"2024-03-18T15:00:44","slug":"le-theatre-dombre-de-frederic-durieux","status":"publish","type":"post","link":"https:\/\/www.ensembleintercontemporain.com\/en\/2024\/03\/le-theatre-dombre-de-frederic-durieux\/","title":{"rendered":"Le th\u00e9\u00e2tre d’ombre de Fr\u00e9d\u00e9ric Durieux."},"content":{"rendered":"

\"\"
\nL<\/span>e 21 mars 2024, \u00e0 la Cit\u00e9 de la musique<\/a>, l\u2019Ensemble intercontemporain cr\u00e9era, sous la direction de Marzena Diakun, Theater of Shadows II<\/em>\u00a0\u2013 In Memoriam Christian Boltanski <\/em>de Fr\u00e9d\u00e9ric Durieux. Rencontr\u00e9 dans son atelier de M\u00e9nilmontant, le compositeur fait part de son \u00e9motion de rendre hommage au grand plasticien fran\u00e7ais disparu en 2021.
\n<\/strong><\/span><\/p>\n

Fr\u00e9d\u00e9ric, vous avez une longue histoire avec l\u2019Ensemble intercontemporain…
\n<\/strong>J\u2019\u00e9tais encore \u00e9tudiant au Conservatoire, dans la classe d\u2019Ivo Malec, lorsque j\u2019ai \u00e9t\u00e9 s\u00e9lectionn\u00e9 par le comit\u00e9 de lecture de l\u2019Ensemble. Peter E\u00f6tv\u00f6s a dirig\u00e9 la cr\u00e9ation d\u2019Exil II<\/em>, en 1985, et dans la foul\u00e9e Pierre Boulez m\u2019a invit\u00e9 \u00e0 l\u2019Ircam. J\u2019y ai con\u00e7u Parcours pluriel<\/em>, qui a \u00e9t\u00e9 cr\u00e9\u00e9 par L\u2019Itin\u00e9raire en 1988. Par la suite, Boulez m\u2019a demand\u00e9 une nouvelle pi\u00e8ce\u00a0: cela a donn\u00e9 L\u00e0, au-del\u00e0<\/em>, qu\u2019il a cr\u00e9\u00e9e en 1991. Puis il y a eu Devenir<\/em>, et So schnell, zu fr\u00fch<\/em>, \u00e0 la m\u00e9moire du chor\u00e9graphe Dominique Bagouet, qui venait de dispara\u00eetre alors que nous \u00e9tions en discussion pour un nouveau projet commun. La collaboration avec l\u2019Ensemble s\u2019est ensuite interrompue, mais je n\u2019ai jamais perdu de vue les musiciens, qui sont pour certains des amis de longue date, et des coll\u00e8gues au Conservatoire de Paris.<\/span><\/p>\n

C\u2019est pr\u00e9cis\u00e9ment par l\u2019interm\u00e9diaire de Dominique Bagouet que vous avez crois\u00e9 le chemin de Christian Boltanski.
\n<\/strong>\u00c0 la fin de l\u2019ann\u00e9e 1992, au moment o\u00f9 Dominique Bagouet \u00e9tait en train de nous \u00ab quitter \u00bb, sa compagnie \u00e9tait accueillie \u00e0 l\u2019Op\u00e9ra de Paris. Je partageais une loge avec Boltanski, \u00e0 qui l\u2019on m\u2019avait demand\u00e9 de remettre une enveloppe, dans laquelle se trouvaient des petits personnages qui avaient servi pour un d\u00e9cor d\u2019un autre ballet de Bagouet. Je me suis souvenu de cela au moment de la disparition de Boltanski en juillet 2021.<\/span><\/p>\n

Pourquoi avoir choisi comme source d\u2019inspiration son travail sur le th\u00e9\u00e2tre d\u2019ombres ?
\n<\/strong>J\u2019ai \u00e9t\u00e9 touch\u00e9 par ces silhouettes \u00e9clair\u00e9es. J\u2019ai toujours \u00e9t\u00e9 \u00e9mu par le th\u00e9\u00e2tre de marionnettes. Boltanski fait r\u00e9f\u00e9rence \u00e0 plusieurs traditions, au th\u00e9\u00e2tre indon\u00e9sien, aux f\u00eates des morts mexicaines, aux danses macabres en Occident… Il parle de \u00ab\u00a0gentils petits fant\u00f4mes\u00a0\u00bb, et de l\u00e9g\u00e8ret\u00e9 mais je ne suis pas s\u00fbr que ce soit si l\u00e9ger\u00a0!<\/span><\/p>\n

\"\"<\/p>\n

Cela a co\u00efncid\u00e9 avec une commande du Grossman Ensemble de Chicago, en 2021.
\n<\/strong>La pi\u00e8ce Theater of Shadows I<\/em> que j\u2019ai \u00e9crite pour Chicago<\/a> se souvient en effet de la mise en route de l\u2019installation de Boltanski, quand les figurines projet\u00e9es sur les murs se mettent \u00e0 bouger du fait de la chaleur. C\u2019est comme si des esprits revenaient frapper – j\u2019aime cette image des fant\u00f4mes, sa fragilit\u00e9, cette sorte de chamanisme qui convoque des esprits ou la m\u00e9moire de ceux qui nous ont quitt\u00e9s. Theater of Shadows II<\/em>, qui sera cr\u00e9\u00e9 par l\u2019Ensemble intercontemporain, reprend cette id\u00e9e en l\u2019inscrivant dans une r\u00e9flexion sur la disparition et l\u2019an\u00e9antissement, nourrie de la lecture des ouvrages de Johann Chapoutot et d\u2019Annette Wiewiorka, sans oublier Paul Celan. C\u2019est aussi une r\u00e9flexion sur la fragilit\u00e9 de nos vies et la fragilit\u00e9 des cultures. Les sons qui s\u2019\u00e9teignent dans l\u2019espace sont les pendants de ces silhouettes\u00a0: il faut que les sons soient entretenus pour exister…<\/span><\/p>\n

\"\"<\/p>\n

Theater of Shadows II<\/em><\/strong> prolonge ainsi la premi\u00e8re pi\u00e8ce, dans une autre instrumentation.
\n<\/strong>La premi\u00e8re pi\u00e8ce \u00e9tait pour treize instruments\u00a0; la seconde, avec une vingtaine de solistes, me permet un instrumentarium plus large\u00a0: les cornistes jouent par exemple aussi des tuben<\/em>, les deux clarinettistes jouent la clarinette basse, la clarinette contrebasse et le cor de basset, et j\u2019aurai un septuor \u00e0 cordes. C\u2019est une amplification, une sorte de palimpseste, une excroissance \u00ab\u00a0d\u2019apr\u00e8s\u00a0\u00bb la premi\u00e8re pi\u00e8ce.<\/span><\/p>\n

Comment le sujet de la partition r\u00e9sonne-t-il avec votre histoire personnelle\u00a0?
\n<\/strong>J\u2019avais neuf ans lorsqu\u2019un client de mon p\u00e8re m\u2019a offert un livre sur la d\u00e9portation, avec des photos qui horrifiaient ma m\u00e8re. Ce livre m\u2019a profond\u00e9ment marqu\u00e9. Quant \u00e0 mon p\u00e8re, qui \u00e9tait n\u00e9 en 1906, il avait \u00e9t\u00e9 prisonnier dans un camp en Sil\u00e9sie. La guerre \u00e9tait une obsession pour cet homme qui avait 53 ans \u00e0 ma naissance, et qui \u00e9tait un adepte du colonel de La Rocque et des Croix-de-Feu. Jeune adulte, je me suis passionn\u00e9 pourFreud, Walter Benjamin, Viktor Klemperer, je me suis plong\u00e9 dans cette histoire et cela ne m\u2019a jamais l\u00e2ch\u00e9. D\u2019o\u00f9 mon int\u00e9r\u00eat profond pour les autels et les figurines de Boltanski.\u00a0<\/span><\/p>\n

Photos (de haut en bas) \u00a9 Franck Ferville \/ DR \/ R\u00e9p\u00e9tition de Theater of Shadows II<\/em>, 18.03.2024, Cit\u00e9 de la musique \u00a9 EIC\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Le 21 mars 2024, \u00e0 la Cit\u00e9 de la musique, l\u2019Ensemble intercontemporain cr\u00e9era, sous la direction de Marzena Diakun, “Theater of Shadows II \u2013 In Memoriam Christian Boltanski” de Fr\u00e9d\u00e9ric Durieux. Rencontr\u00e9 dans son atelier de M\u00e9nilmontant, le compositeur fait part de son \u00e9motion de rendre hommage au grand plasticien fran\u00e7ais disparu en 2021.\u00a0<\/p>\n","protected":false},"author":213,"featured_media":26435,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-26434","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entretiens","concert-ombres-et-lumieres"],"acf":[],"yoast_head":"\nLe th\u00e9\u00e2tre d'ombre de Fr\u00e9d\u00e9ric Durieux. - Ensemble intercontemporain<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.ensembleintercontemporain.com\/en\/2024\/03\/le-theatre-dombre-de-frederic-durieux\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le th\u00e9\u00e2tre d'ombre de Fr\u00e9d\u00e9ric Durieux. - Ensemble intercontemporain\" \/>\n<meta property=\"og:description\" content=\"Le 21 mars 2024, \u00e0 la Cit\u00e9 de la musique, l\u2019Ensemble intercontemporain cr\u00e9era, sous la direction de Marzena Diakun, "Theater of Shadows II \u2013 In Memoriam Christian Boltanski" de Fr\u00e9d\u00e9ric Durieux. 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