{"id":27001,"date":"2024-06-19T17:01:43","date_gmt":"2024-06-19T15:01:43","guid":{"rendered":"https:\/\/www.ensembleintercontemporain.com\/?p=27001"},"modified":"2024-06-21T16:52:01","modified_gmt":"2024-06-21T14:52:01","slug":"feliz-anne-reyes-macahis-diwata","status":"publish","type":"post","link":"https:\/\/www.ensembleintercontemporain.com\/fr\/2024\/06\/feliz-anne-reyes-macahis-diwata\/","title":{"rendered":"Feliz Anne Reyes Macahis : \u00ab\u00a0Diwata\u00a0\u00bb"},"content":{"rendered":"

\"\"<\/span><\/span><\/strong><\/span><\/p>\n

P<\/span>our Feliz Anne Reyes Macahis, Diwata<\/em> \u00a0\u00a0\u00ab tente d\u2019explorer la notion de mat\u00e9rialit\u00e9 de la voix \u00bb. Explications de la compositrice d\u2019origine philippine sur cette \u0153uvre pour ensemble cr\u00e9\u00e9e en 2020, au programme du concert du 22 juin au Centre Pompidou<\/a>, dans le cadre du festival ManiFeste de l\u2019Ircam. <\/span><\/strong><\/span><\/p>\n

La mani\u00e8re dont nous \u00e9coutons un\u00b7e conteur\u00b7se d\u2019histoire diff\u00e8re selon les personnes et les circonstances. On peut porter son attention d\u2019abord sur la personne du\u00b7de la Conteur.se \u2013 sa voix, ses gestes, sa d\u00e9marche, sa posture ; ou s\u2019int\u00e9resser \u00e0 son environnement, qui prend alors le pas sur la narration. \u00c9tudiant moi-m\u00eame des chants \u00e9piques traditionnels, qui peuvent durer des heures, mon attention s\u2019attache \u00e0 des \u00e9l\u00e9ments h\u00e9t\u00e9rog\u00e8nes selon le moment. L\u2019esprit et la spontan\u00e9it\u00e9 du\u00b7de la Conteur.se me fascinent, autant que le pouvoir et la beaut\u00e9 de sa voix.<\/span><\/p>\n

Mon degr\u00e9 de familiarit\u00e9 au langage utilis\u00e9 ajoute une dimension suppl\u00e9mentaire \u00e0 l\u2019impression g\u00e9n\u00e9rale. Que je ma\u00eetrise ou non la langue, chaque instant d\u2019\u00e9coute est une exp\u00e9rience valable, susceptible de convoquer une imagerie singuli\u00e8re. Une part non n\u00e9gligeable de mon travail est d\u00e9di\u00e9e \u00e0 la transcription et la traduction, en tant qu\u2019outils de base pour exploiter les caract\u00e9ristiques de mes sources primaires, en l\u2019occurrence les archives audio que j\u2019utilise dans le cadre de mes recherches artistiques. Pour chaque pi\u00e8ce, je me concentre sur un aspect particulier. Ainsi, Diwata <\/em>tente d\u2019explorer la notion de mat\u00e9rialit\u00e9 de la voix, et de la documentation proprement dite : une archive audio de Fabio Dalasay chantant un \u00e9pisode de l\u2019\u00e9pop\u00e9e Agyu <\/em>d\u2019Agusan Manobo, un enregistrement datant de juillet 2000 (r\u00e9alis\u00e9 insitu par Margarita Cembrano, Philippines Epics and Ballads Archive, Box 6. 6.1).
\n<\/span><\/p>\n

\"\"
\nCette pi\u00e8ce \u00e9largit \u00e9galement le r\u00f4le de la voix des instrumentistes dans le cadre de mon \u00e9criture d\u2019ensemble. Au-del\u00e0 de la th\u00e9\u00e2tralit\u00e9 suscit\u00e9e par ces voix, et de leur contribution \u00e0 \u00e9toffer le son des instruments, je veux ici \u00e9voquer un objet, une image ou un espace partag\u00e9s, dans lesquels chacun pourra se retrouver ou s\u2019identifier. Toutes ces consid\u00e9rations peuvent appara\u00eetre assez n\u00e9buleuses en l\u2019\u00e9tat, mais peut-\u00eatre trouverai-je des \u00e9claircissements lorsque j\u2019aurai termin\u00e9 ma th\u00e8se ; ou, peut-\u00eatre aussi, tout cela est-il destin\u00e9 \u00e0 rester n\u00e9buleux. \u00ab Diwata <\/em>\u00bb est un mot commun \u00e0 de nombreuses langues parl\u00e9es aux Philippines. Il peut d\u00e9signer une nymphe, une divinit\u00e9, un esprit de la nature \u2013 il se rapproche en cela du mot sanscrit \u00ab Devat\u0101 \u00bb dont il d\u00e9rive. Dans cette pi\u00e8ce, je fais plus particuli\u00e8rement r\u00e9f\u00e9rence au nom que l\u2019on donne aux esprits qui guident les chanteurs de chants \u00e9piques.<\/span><\/p>\n

 <\/p>\n

Propos recueillis par J\u00e9r\u00e9mie Szpirglas<\/p>\n

 <\/p>\n

Photos (de haut en bas) : Marie-Luise Calvero \/ \u00a9 Franck Ferville<\/p>\n","protected":false},"excerpt":{"rendered":"

Pour Feliz Anne Reyes Macahis, \u00ab Diwata \u00bb \u00a0\u00ab\u00a0tente d\u2019explorer la notion de mat\u00e9rialit\u00e9 de la voix\u00a0\u00bb. Explications de la compositrice d\u2019origine philippine sur cette \u0153uvre pour ensemble cr\u00e9\u00e9e en 2020, au programme du concert du 22 juin au Centre Pompidou, dans le cadre du festival ManiFeste de l\u2019Ircam.<\/p>\n","protected":false},"author":175,"featured_media":27194,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[102],"tags":[],"class_list":["post-27001","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-eclairage","concert-ulysses-xxi"],"acf":[],"yoast_head":"\nFeliz Anne Reyes Macahis : "Diwata" - 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\/fr\/2024\/06\/feliz-anne-reyes-macahis-diwata\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Feliz Anne Reyes Macahis : "Diwata" - Ensemble intercontemporain\" \/>\n<meta property=\"og:description\" content=\"Pour Feliz Anne Reyes Macahis, \u00ab Diwata \u00bb \u00a0\u00ab\u00a0tente d\u2019explorer la notion de mat\u00e9rialit\u00e9 de la voix\u00a0\u00bb. 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