That someone penetrate me, "why not?

But my marking the way makes me yawn.

Too worn out to really write today. Well, wrong to put it that way; writing is something that suppresses throughout the day, the proof, like a wound that never really cauterises from being scraped and the scab torn off out of annoyance; everyone knows this story well. Besides, stories - I'm talking about those of human beings and even those they like to tell and claim as... I don't know what; art perhaps; novels, theatre, cinema, painting... I don't know; I don't really care - in short, stories, that's what's always hard to put into form. That's what has always weighed on me and what I never want to do. But despite everything, there is still something that imposes itself; a desire to "say" and communicate in an accessible way. 

Because that's what a story is; something accessible; that others, not you, can understand; through which they can get to you; "penetrate" you, you might say, and then peddle it afterwards in their own way. I have nothing against this contact, on the contrary, because otherwise I wouldn't favour it. There's obviously a reason to do all this rather than have a boring job and dream about holidays (which is a response to life that I don't denigrate and understand completely, but that I'm not able to bear on a daily basis). I find it too simple to give the instructions, because the "story" must also excite its author, and I am excited by work, even when everyone else is working. This is how individuals are no longer a threat to me. I don't mean just any work, let's be clear; I'm talking about the work I invite you to do, not the work that makes you yawn while dreaming about your holidays, nor the work of making the bomb. No, no, mine, or let's say, the incitement to follow trends proposed by mine, that's all. This is a possible definition of stage direction And that's what I've been trying to stop doing over the years, until this recent project, "Parques d'attraction", which is an attempt to achieve this approach. Not to stage anymore, yes, but still to propose something. Because "staging" is not at all about directing others towards the dream form. I say this from my own overall experience in the field, which dates back almost 30 years today (my first actual staging was Shakespeare's 'Henry VI' in 1985). No, directing is still and always and eternally 'taking care of others'. Those who dream of a glorious career as a fascist leader sipping papaya juice, surrounded by grovelling worshippers, should consider another profession. L'disposal is rather the perpetual watchword, so much so that it is necessary incessantly to explain, to fight against resistance, to respond, to propose, to take charge, to organise, to free oneself from such insidious hostage-taking, to avoid such well-intentioned scud, to tear oneself away from a number of unrequited attachments, to push into their entrenchments people who boast of wanting to go, who demand it, but who will nevertheless never go of their own accord, to explain, to explain, to explain, to make oneself understood, again and again.

My vision was rather :

"I chose you, you accepted, you understood, I trust you, you do the job and I can use the material transformed by you which is necessary for us to achieve the project to which you freely contribute, if I am not mistaken.

A story of a hive, of bees, of good little soldiers who like to do that, to study, to lean into the material, to play and... nothing else. Nothing to do with boxing rounds or birthing sessions.

I don't like the idea of collaboration; it sounds bad and it's not my spirit. For me, the most beautiful collaboration is done without words, just through execution.

Execution, a magic word when it is not fearsome (between music and the guillotine), which simply sums up the REAL and very often unique necessity of the character that participation in a work must have. All the rest is the blabla of a ministerial communicator or other cultural officer who would like to make artists "meet" (" ah! ah! the meeting at last, thank you, thank you, I was just waiting for this, I enjoy it" ). You have to justify your salary and the emptiness of your projects. It must be said that it scares many people, someone who is self-sufficient and yet has ideas. Somehow it pisses me off, we don't know why - someone who is efficient and lacks only the money and nothing else, to hire help and make forms. It must not be trendy or politically correct not to be in search of the famous 'exchange' that is supposed to 'enrich' me so much. I'm sorry, really; what enriches me and makes me feel less worried and eventually allows me to lean on others, or even to be generous, are tangible riches: money, funding. And from this perspective, every penny earned or lost counts because it can be translated into sweat, fatigue, danger or into gain, oxygen, future. As simple as that.

So, to come back to this notion of "history" that I mentioned earlier, which I keep wanting to renounce more and more, I have come to give the keys to my almost complete set of keys to anyone who wants to take them, starting with those of the project team, but also to the public who would like to look into it. I don't cultivate for myself the infantile mystery of the show: dad, mom-artist vs. children, followers-spectators. The sort of flowchart that I have pasted into the article above is there to prove that this preoccupation is not new, since this "plan" for the industrial production of my stage episodes was already present at the beginning of this process, in 2007, when the first performances of the Fleece sleepsThe fresh prehistory of the Parques to come. This can be seen in the arrow indicating Upstream meetings/games/invitations/proposals directed towards the red planet featuring the Public. So, yes, encounter, the word is present, but not in any way; with an invitation to take an interest in my approach beforehand. It is undoubtedly demanding, but that is how it is: I am my subject of study in relation to the world. Anyone who wants to study in this way has to go through the curriculum. So much the better if there are a hundred of us, so much the better if there are two; that's my position. Today, as one of my cartridges hanging in the Generator will indicate, I consider that

"The best thing I have to show is my cock and my work; meeting me requires going through one or the other."

But after all, isn't that what we've been calling an audition for as long as the performing arts have existed?

My keys are themselves to be deciphered, if one wishes, for oneself; they are those of the understanding of a rather simple functioning, that of survival through ruin and the shreds of history. Something that stays with you after a screening of The infernal tower. So it's not necessarily just about me.

 I said what I had to say.

I did what I had to do.

I don't owe anybody anything.

Just the right taste, breaks my balls,

As well as informed opinions.

Take me at my word.

I'm only loved unconditionally...

And I don't care if anyone understands me.

Asshole, I go, always with my dick in the air and my nose in the wind.

Whether it turns or not, will not change my course.

In art as in sex,

Modesty leads nowhere,

Entertainment has no balls,

Culture and tradition piss me off.

Do your real art

Or die in your filth.

Insult is my field.

Contempt is my faith.

I like it

LA TOISON DORT © David Noir