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Information, reflections and debates with Cassandra/Horschamp…
Gentilly generator :
David Noir creates 'Scrap
"The feminine in all its states30 April 2014, by Thomas Hahn
Theme(s) : Unclassifiable, improbable, unclassifiable
Sub-theme(s) : Performance
THE UNPREDICTABLE DAVID NOIR, IN RESIDENCE AT THE GENTILLY GENERATOR, IS PREPARING A SHOW FOR WOMEN, IN WHICH HE WILL SHARE THE STAGE WITH SPECTATORS WHO WANT TO BE ACTIVELY INVOLVED.
David, what is the meaning of the word "scrap" here?
The term refers to something insignificant, and refers to scrapbooking, the digital version of the photo album enriched with other elements, which corresponds to my way of working since I like to create collages without necessarily producing an immediate meaning. Words make more sense to me in a coalition of different meanings.
Why "The Feminine in all its states"?
The theme is not the specific feminine of women, but the idea of a matrix that one can have within oneself, a less phallic way of receiving things. Of course, I also have fun with images of the feminine and will embody allegories or unreasonable clones of well-known female figures. I use a lot of song fragments. A Cinderella with a Michel Simon-like voice, it's as if the world has exploded and the various molecules are being welded together.
You are known for forms that allow the spectator to intervene in the creation.
I like it when there is interaction, when things happen in parallel. The audience is called upon to deliver things from themselves according to what they see and hear. I don't like them to stay in one place. I also provide texts that create an environment. I am interested in incoherence, I have a kind of mistrust of logic, which is often a façade. I want to create a quantity of events, which can be random. I have a thirst for unpredictable things. My collages will be quickly made, badly made, to leave the public with possibilities of access by infiltration. Obviously, there will be no forcing. My role is to create the context.
You advertise it as "Performance with light, non-painful periods". A double meaning on "rules"?
Yes, I am. I'm creating a set with nets of blood and some kind of tampons. I'm very interested in all this feminine precautionary paraphernalia and the cellulose and wadded materials that are almost sculptural materials. But it's also a question of pointing out that the spectators are invited to feel perfectly free, even if they want to take over the stage. I'm not afraid of that, even though I'm not looking for interaction. But I don't like the usual almost religious sequestration of the audience. In "Scrap" there will be microphones available to the audience to participate in the creation of a sound environment that I will share with them.
The key word in your reflections that bears "Scrap" is : "integrity".
Integrity is also wholeness. It's not about morality, but about listening to what's going on inside you, without preconceived ideas and without fear. There is a lot of fear, as if by assuming that we are all hybrid creatures with molecular identities, we lose our credibility. The opposite is true. We are a whole, we are composed globally. When a scientist or a politician speaks to us with great seriousness to denounce in the media a rape or other crime, I always wonder what he dreamed about during the night and what his fantasies or masturbations are. This is anything but an ancillary part of one's being and one would probably be more temperate and livable if one took both parts into account. Throwing away one of these two halves in order not to consider oneself as a whole is very conflict-producing, even armed conflict. However, everyone has a brain that would allow them to look at things more finely.
The Generator is precisely a place where the plastic, visual and choreographic arts are invited to interact.
I don't come from a performance background and I don't even know if I'm there yet. What is important to me is to find at the Générateur a real place in the strongest sense, totally devoted to stimulating non-formal creativity, in a spirit of real openness, with an empty space where the stage can emerge from everywhere and create a real relationship between the artist and his audience. You learn a lot as an artist by seeing the work of others. Because you really 'see' the performances there. Often, unbeknownst to you, you just consume them. Here you have the possibility of being involved and completely immersed in an artistic proposal.
Interview by Thomas Hahn
