SOLO SEX TUOR MULTIPLE

a quest for origins and disintegration

A few months to get this big ship that's going to be The Fleece sleeps to the Generator. Now it's your turn to come on board if you feel like it. Welcome aboard!

THE SLEEPING FLEECE

Implementation, texts, sound mixes, videos, interpretation: David Noir
Improvised music: Christophe Imbs
with Any Tingay, Valérie Brancq, Sonia Codhant, Philippe Savoir, David Noir


Live video creation, sound control : Guillaume Junot

Lighting design, lighting control: Jérôme Allart





LA TOISON SLEEPs at the GENERATOR from 13 TO 15 JANUARY 2012 - 16 Rue Charles Frérot, 94250 Gentilly

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The Fleece sleeps at the Generator | David Noir | Graphic Design © Philippe Savoir
The Fleece sleeps at the Generator | Graphic Design © Philippe Savoir

3 performances giving rise to 15 hours of entertainment in which the spectators have the opportunity to mingle with the actors to interpret the words of this epic text in hand and to embody the situations that are invented over the course of improvisations.

The Fleece sleeps at the Generator | Valérie Brancq in Fur Killer klown | Photo © Karine Lhémon
The Fleece sleeps at the Generator | Valérie Brancq in Fur Killer klown and Philippe Savoir on the right | Photo © Karine Lhémon
Excerpt from The Fleece Sleeps at the Generator file

The 2012 project: LA TOISON DORT or Jazon and the Creature Definitives

This forthcoming version of "La Toison Dort" is the result of the fusion of a first core of episodes presented to a regular and faithful audience, but in modest material conditions. We now had to considerably expand this framework to give birth to the new form we were aiming for. We have been given the opportunity to do so thanks to the kind reception ofAnne Dreyfus and his team, in this amazing space, totally free of obstacles, which is the Generator, a vast silent set, which seems to be perpetually reborn after each passage of an artistic creation within its walls, thanks to the unique quality of the spirit which reigns there. It is therefore a 16th encompassing and consequent stage of "La Toison Dort" that these pages aim to present and which will take place on 13, 14 and 15 January 2012 in this ample and soulful place, entirely devoted to contemporary creation, ideal for a project such as this. Far from being a final outcome, the aim of this proposal is to propel the boat out of its research spaces to confront it in a real situation with its original ambition: to generate a sufficiently deep and obstacle-free bath around its sides so that the contours of the
The aim is for the actors and the public to play their roles, and for a new culture to emerge from it and delicately float in it.
It will be for the voyage of La Toison, the clear sea where the ten or so islets, the backdrop of his first journey, will float, this time brought together on a single cardIn the course of a single, extended period of time, this new prototype will be able to get its bearings.
A performance by David Noir was also created previously at the Generator just over a year ago under the title "The Black Man". AltereGo! ».

The Fleece sleeps at the Generator | Photo © Bernard Bousquet
The Fleece sleeps at the Generator | Photo © Bernard Bousquet

Texts to try to say and make heard,

Texts that circulate within my testicles.
Bodies to see and approach,

I love the humanistic emotion that animates the skin of our sexes as the most pacified land of our armed body.

The Sleeping Fleece is a live show waiting for your visit like an exhibition on hold.

The Fleece Sleeps at the Generator | Flyer | Text © David Noir | Graphic Design © Philippe Savoir
The Fleece Sleeps at the Generator | Flyer | Text © David Noir | Graphic Design © Philippe Savoir

And the saliva was swallowing in the guise of misfortune,
And the heart was devouring itself for a taste

During these three days, you will be able to:
Arm too short,
Just pass,
Heart too weak,
Just visiting,
Squareness,
Stay there
For me, the mass was said.
You're getting into it,
That's what I thought.
Listening, seeing, singing,
Nothing and no one would save me.
Play, get undressed,
At a gallop, at a gallop,
Wandering, dancing
Deceased.

About "The Fleece Sleeps"

"The Fleece Sleeps" is first and foremost addressed to the "Public", if it means something to include under a generic term, the diversity of individuals who have come to experience moments so differently shared in the same place. Nevertheless, it is in its overall strangeness that the sum of the spectators is addressed here. Like a vast body that could possibly collide productively with ours; a distant planet sheltering an intriguing civilization, at the edge of the galaxy that has been set up.

In the same way that in 1969, aboard the Apollo XI spacecraft, then in 1972 on the Pioneer X space probe, NASA carried a message of peace accompanied by an illustration representing the human being and his position in the solar system, destined for potential extraterrestrial life, generating a living work is for us, as a company, to attempt a contact between a new expression and the multiple carriers of unknown languages that are the spectators. It is also interesting to note that in the subsequent missions - Voyager 1 and 2 - a multimedia disc containing sounds and images of the Earth was added; a "bottle in the sea". interstellar "according to its designers. What could be more similar to the media we frequently use on stage today to disseminate the codes of our personal civilizations. 

It is by using these notions of "bottle in the sea" and cosmic infinity that the concept of "The Fleece Sleeps" gradually imposed itself as being that of a journey through space-time to my contemporaries; from the ancient fantasy to the reality of the present moment, from the prehistory of the human mind to the most trivial words of our daily lives.

The scene would be the spaceship and Jason's mythical quest, the logbook. Traces and itineraries, maps and memories of intimate places would make up the route. Chaos would also be summoned, as one must do for each original creation, for each birth of a world. All that would remain would be to scientifically construct the poetic stages of this epic.

First of all a text, a word. This one came easily as being that of a character, this Jason that I had in me, a hero of little faith, an avid explorer of souls and bodies standing in his way. It would be enough to let him speak, to enunciate his vision as a restless and determined strategist like an animal seeking its food. The result would be a quest, without concession to social precepts; a violent and desiring struggle on the scale of his thirst for existence.

Through numerous preliminary experiments, as well as preparatory tests, "The Fleece Sleeps" has questioned its format. Initially a micro planet, an aggregate of compacted dust in a simple and direct address to the spectators, then evolved into elaborate solos and finally accompanied by other presences, the entity "Fleece / Jazon", now spelled with a sharper and sharper "Z", has finished building the plans for its journey. Moving away from the obscure and isolated stage of theatres, its expanding form will encompass stage, auditorium and audience in a vast matrix where all molecular frictions will be possible. A large test tube in which the forces present will be more likely to merge, to magnetize or repel each other. We therefore present a system in which text, music and sounds, bodies and costumes are at the visitor's fingertips. A river exhibition that unfolds its course to the rhythm of the visitor.

As in any developing universe, "The Fleece Sleeps" offers a model of independent living. Like the theatrical rehearsal, no spectator is needed in this first time for the work to make sense. It lives according to its loop and takes shape according to the meanders of its research. The analogy ends here, because the ambition of our project is that this form of representation, if it does not wish to expect the audience to be the vital trigger, nevertheless lends itself to be completely overturned, catalyzed, even fertilized, by the immissión (concentration of a "pollutant" in the air and the resulting chemical conversions) of foreign bodies. The barrier is not to be crossed, it is deliberately opened. But in order not to be sterile, neutralized by common inhibitions and agreed attitudes, improvisation requires a high degree of preparation beforehand. It is therefore according to a precisely pre-established plan that the meeting can take place and that we can delicately encourage the emergence of reactions. We do not aim here at interaction in its overused and banal acceptance of a primary and superficial contact. "Playing with others" seems to us more deeply psychic than a reduction to simple familiar exchanges.

In order to do this, the singular strangeness of the creative act must not only be offered as a consumable present, but recreated with sincerity in the presence of the other, before his eyes, in the warmth of his breath, in the careful respect of a progressive reduction of distances. This requires time, duration, and should therefore not be imposed in any way on those who would only like to take a quick walk between the worlds offered. Those who perceive the signals of an invitation to go further in the game, to perforate and then exchange their spectator's skin for that of an actual player in mutation, we will leave the field free to rub shoulders with texts, microphones, pieces of disguise, masks and prostheses. It doesn't matter if a prop is missing at any point in time T, as that will be the principle that will govern the relationship between us as a team during rehearsals.

These rehearsals and preparations will only aim to bring about the emergence of a common understanding of the work; to create a way of approaching the benchmarks and not to fix them. When the actor becomes naked, his body and his thought are enough to deliver the substance of his words; no accessories are then indispensable.       

In addition to the text composed to date of 55 main sequences, themselves subdivided into several ancillary sequences, five essentially text-based video projections, live music, soundtracks, remnants of the micro-settings from previous episodes, multiple disguises and props with a childlike illustrative function, mental maps, the heart of the project's current form, will be made available to the public, as well as the various prose poems that have composed "The Fleece Sleeps" since its origins. These cards, designed using software increasingly used in the business world, have the characteristic of giving all the keys to the proposed system to both performers and spectators. The mysteries to come will therefore not lie in trade secrets, but on the contrary, in the total access to the data and to the routing processes put in place.

The body, desire, sexuality, the psychic and physical solitude of being, the updating, at each renewed step of the inconceivable crossing of the desert that can be life in society, the affects, the traumas and the imperious necessity to satisfy one's animality in order to survive; everything that makes up the essence of our human lives is also the experience of Jazon. Man has built himself a world where it is not enough to live; where it is necessary to exist. The quest is the driving force behind all our ambitions, however modest they may seem. We seek to ...

to become, to grow, to possess, to transmit, to invent, to enjoy, to discover, to protect us, to disappear, to love... the list, if not infinite, contains at least all the verbs of all the languages ever created. We seek to Act or withdraw from Action. This is our choice reduced to its simplest formula. Therefore, the crudeness of words or the things of life, so often glossified without foundation about a work, is not, in our eyes, a subject in itself. It is only for those who want to live this life through a bearable aesthetic and not its reality.

Things are; you don't make them up; you realize that they exist or that they will be possible one day. This is true of the type of representation advocated here. Poetry offers an elsewhere that is only apparently made up of the symptoms felt by looking or listening outside. Practice easily shows that these are not fleeting and random impressions, but objective manifestations of the psyche of the brains that produce them. There is thus no need to determine as being good or bad such and such a choice that it would be up to us to make. It is thus; that is all; because a necessity to do or to say exists. No provocation then, to see through the naked bodies, the images of our desires, and the abundant, simplistic, elusive, or plodding puns. "The Fleece Sleeps" is a network of synapses, mental images and tense connections, projected towards other nebulae from which outcrop on the periphery, the adherent rhizomes that enjoin encounters. Does the theatricalization of our acts and thoughts have another purpose? Yes, that of not being satisfied with a furtive contact of one evening, but of tracing channels from which emotional substances and concepts flow towards the other. With this device, we propose to try the experience, not of a unilateral gush, however rich it may be, but of an osmosis* in the most physical sense of the term.

* Osmosis is a phenomenon of material dissemination highlighted when molecules of water (and solvent in general) pass through a semipermeable membrane which separates two liquids whose concentrations in dissolved products are different. The difference in concentration causes a difference in osmotic pressure which causes the solvent to move across the membrane. (Wikipedia)