Worrying continuation in ideas or saving stubbornness?

It's impossible for me to know. Rather want to completely empty an argument of its substance in order to be able to move on to something else. In any case, here's what I wrote eight years ago to potential decision-makers in preparation for this project while I was still working with them.  

Archive

The Fleece sleeps / genesis of a theatre (and society) project

David Noir / La Vie Est Courte Company / 2005

I - Considering the modernity of a public

The Internet today allows us to discover intimately a large part of the population of today's world.

These human beings, surfers of all conditions, sexes, ages and origins also form the huge public we are concerned to solicit.

Through innumerable sites and personal pages the human world is now also expressed between connected individuals.

Of all these new forms of communication, blogs are the most accessible to the less technological among us.

These are small sites with growing success, existing recently with us, whose simplified and fast execution allows the creation and free distribution of personal testimonials on all subjects and in multiple forms: diaries, news commentaries, creations, thoughts, mood posts, photo albums ...

I, for my part, consider these small pieces of our humanity as real pearls, whatever their content, because for the first time in the history of communication, anyone in an easy way can freely tell the rest of the world about themselves and learn about the tangible existence of their contemporaries on a daily basis.

Until now, only the "big" media (radio, television) have been able to send us a mirror of the multitude of which we are a part.

Artists also provided for this through their function as interpreters of life.

Only both were and remain subjective observers of each other.

The immense difference in the case of these new business cards on the Web, comes from the source of these individual expressions which is none other than the individuals themselves.

If we look at the public, it is therefore important to note that today and in the future, the public is and will also be its own author. It will invent itself in all conscience and will have less and less need to consume ... in art.

He himself makes, relays and informs.

We can therefore see that contrary to popular belief, a large number of people have perfectly integrated the notion of contemporaneity into art: just as little by little, some have a thirst for making their own electricity, the public generates part of its creative needs alone.

The audience of traditional theatre (I include the contemporary), is perhaps the most backward in terms of its own expression.

The famous "subscribers" still consume culture but produce only a weak dynamic of desire, simply because the world has changed and many of them have found effective ways to be autonomous and "liberated" from the professionals of the entertainment industry.

So it is not to them that I would like to address myself first to try to revitalize our relationship, but to those mentioned above who spend a few hours of their time every day showing up and visiting others from their homes.

II - Planned dialogues

Beyond the scenic project and including it even at its source, the real adventure that we want to try is to communicate from the start with this future public, itself a creator of forms.

He speaks about Him and we have always wanted to speak about Them and Us.

We therefore plan, through the creation of a specific site, directly linked to your own structures, to organize in the form of forums the development of the future theatrical project.

Through presentations of the current project and discussions on the net, we intend to inform but above all to nourish our work with the fruit of these same exchanges in order to meet this new public well in advance and thus directly involve them in the result.

It is not for demagogic purposes that we want to proceed in this way, but to benefit from the real psychic and concrete influence of the various reactions and comments on the creative process.

Far beyond that, we even believe that a metamorphosis of the relationship is possible in order to find an updated link based on the desire and necessity of the artists' existence for this public.

We believe in this "I" formulated today by a growing number and by ourselves since our origin.

It contains and expresses the freedom to be and to share, indispensable for human transactions.

This intimate word, newly revealed by the men and women of this world, also speaks of the last hours of the pyramidal hierarchy, at least in the expression of artistic values. It is no longer time for creators, producers, and presenters of live performances to still believe in the particular singularity of their approach.

No one is under any illusion about the powerful jail created by the consumer economy of material goods.

We are all still for a long time prisoners of this system of power, but the relative richness of the Web and the certain poverty of the frequentation of the places of creation, are there to testify of a necessary change in the idea that we have of the potential public and of our way of communicating with it about the world.

We desire and call upon his gaze upon us. But we still have to learn how to pass it on to him again.

III - Processes

In addition to the creation of the site, which is an indispensable platform, we envisage frequent meetings with interested broadcasters, supported by an adequate production.

Appointments, presentations, public rehearsals, free expression areas of the Internet users with whom we communicate, studies and productions made about themselves, would constitute the progressive construction and the very elements of the programming.

Instead of a few dates at the end of a successful project, we imagine an equivalent or greater number of stages throughout the seasons that would be as many creations, true pieces of the flesh of the object in progress; in fact, autonomous shows in themselves.

It is therefore with your constant and powerfully interactive support that we need to launch the artistic "pacification" machine that we hope to see emerge.

The Cold War, but far-sighted, basely seductive, full of tensions between artists-producers-broadcasters-hunters-predators at the barricades and prey-public, coveted and courted, has worn down the artistic-cultural system, which has not seen its power of fascination fade away.

We must acknowledge that the bird has flown away rather than give in to a civilized but depressing panic.

We all suffer from it. At a time when our Ministry, caught short, seems to be considering the final solution by reducing the number of companies, it seems more exciting to us to reexamine the very definition of the group of our interlocutors-spectators.

Who are we talking to? What has become in a few decades of cultural and intellectual activities, these spectators always possible but more autonomous than ever?

They are now manifesting themselves concretely and pushing their identities outside, like so many new botanical species; as we, full-time artist-creators, have wanted to do before.

So we've never been in such close proximity.

It is no longer a question of unconscious imagery, of a single "god" incarnated through each act of creation, but of a myriad of small figures building their mythology, of which artists are also part.

IV - The Stage Project

Scaffolded from three essential materials:

The commons:

• Texts, sounds, images, company performers, filming, staging

The new ones:

• Effective participation of the spectators met during the exchanges, in the films and plays to come on a real contractual basis (exchange of promotions through their sites and ours...).

• Dissemination of work and free circulation of current data through blogs and personal pages of the public wishing to be connected with us.

The whole project in its global approach as well as the first theatrical opus resulting from this work will be entitled The Fleece sleeps and will look very directly at the intimate behaviors of our contemporaries and our own.

The source of the subject is naturally rooted in one of the very first expressions and preoccupations of the "I": our sexual impulses and the libidinal energy that flows from them: arousal.

Excitement, along with consumption, is the source of all pleasures for us living beings.

It is on the basis of these two entities that are gradually becoming opposed: excitement-awakening and consumption-sleep, that I wish to articulate my scenic purpose.

Between the "I" that singularizes and the "We" that unifies there is the tension that is characteristic of every work of art.

For me, it is a question of creating the electric arc between these two poles.

The last bastion of our hidden pornography is in the late 1970s.

Then the cinemas devoted to X-rated cinema disappeared as the consumption of fantasy images in the home on video media developed.

Thanks to light video, then micro-computing and the weaving of the Internet network, we are now at the stage of the artisanal and personal production of our own pornography.

It now floods the whole world with its images accessible with a simple click and gradually replaces our puritanical shame with a growing thirst for an exhibition of the Ego. First in the form of raw images of one's own sex, then slowly, through the creation of a discourse, a thought and a dialectical relationship to our bodies and those of our fellow men expressed without hindrance.

We are in the age of pornographers, both male and female, young and old, of all orientations.

I also claim to be a pornographer and aspire to express a point of view, in my view quite progressive, of the use of pornography in our daily lives, our communication and the image of ourselves.

 End of the archive