Images Perdues

1. IMAGES PERDUES , collective project, interdisciplinary and mixed
We have implemented a broad multidisciplinary project covered around urban meetings around the right bank of the Paris region: Vox Pop, photo shoots and filming curveball Images of Lost, "Invisible", in Pierrefitte.
The spectacle of the project was formed from the beginning, the idea of
forming a group and on the notion of miscegenation (arts and
culture), we see emerging the same language of mime heart.
2. Genesis of Lost Images
A write with both hands done in stages
Two fundamentally different visions of theater met and amalgamated.
The vision of Joe Palermo: a silent theater, image and movement, theater and logocentric represented by StefanoRosatelli dialogues
3. The staging of Lost Images
Some working axes
Interdisciplinarity within the collective: the direction of the actors
(scenic expression, vocal and physical training, job roles)
is conducted in close collaboration with the director and the director of actors. Meanwhile evolving video workgroups (movie curveball), decor, masks, costumes, light (cf. notes for different groups).
All members of the group, including those of different teams
techniques, participated in least occasionally in training
physics. The approach of the interpreter's work must be based on a
better understanding of its requirements on scene, starting with the
freedom of movement and vocal expression.
Mime is always present on stage the actors are
all continuously involved in the game: the actors
off their roles real say to split as mimes.
After each intervention as a character, they become
spectators, which allows some distancing from the
fable.
It also allows to connect to a theatrical form in which the scenes
are virtually absent, where the practice of research is constant, and that
can not happen without a total commitment of the actors.
Find a shared breath, a common breathing .
work on roles with related thoughts distribution
to the collective personalities, roles are worked in
search of physical and vocal improvisation, to accustom the
players to this double character -spectateur presence as well as a
language away from the realistic theater and releases daily to
assert a more universal form of expression.
Take time: it helps broaden the search to enter
into details, to ask all the questions necessary for
project progress and pausing to formulate
constructive responses.
Engage together in the "great adventure", understand the functioning of the troupe of life, even if we are here in Paris, confronted daily in the city and individual experience. It is important to us to emphasize, in this way, the theater, despite all that can be said, remains essentially a "human case" without men, without
women or children on one side and the sides of the stage, on stage, backstage or in the room, it can not be theater. The exchange is for me the center of all artistic work.
4. An interdisciplinary project
Statement of intent on the body work of the actor
The training is mainly through practical exercises, to
enhance the natural expression of the actors. The composition work
is mainly based on the mime.
How from the work that each individual features can we get to
the movements known to all and that fall within the "collective imagery?"
We draw from previous experiences artists who have replaced the word with body language, whatever the medium used: Étienne Decroux, the Commedia dell Arte, cinema Godard and Antonioni and expression of the clown.
Note scenic intention: costumes, masks, decorations.
First, we strive to meet certain conditions
adaptability to places where the show happen, either indoors,
in a theater or outdoors (very varied places from the perspective of
dimensions and technical means available ).
All the decorative elements are manipulated to view by all actors
along the scenes and therefore an integral part of their game. The space
stage is defined by the actors. We are inspired by the universe
of children's toys.
We consider the ideas that arise during rehearsals, which will certainly be unique to make changes to the
set design itself. The work on the masks and costumes follows
therefore that logic. It is with this spirit and desire to learn more
through these meetings and the improvisations of the actors that we take part in the creation of this work.
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