REACCLIMATING THE STAGE (SKENOMORPHOSES)

vincent roumagnac

REACCLIMATING THE STAGE (SKENOMORPHOSES) An Ecotonal Doctoral Piece in 40 Scènes, 15 Parergonal Writings and 5 Double-Postcards. From the perspective of mise-en-scène (staging), and correlatively that of the place and the practice of the metteur-en-scène (theatre director), this artistic research project addresses, examines and experiments on the question of the scenic/scenographic representation of a postnatural world, in climate transition, affected by global warming and moved by abstract data-flows, in a tangled web of storms, information, and algorithms. While lived and conceptual "time", no longer telically given as linear and chronological, is being anthropodecentered and, therefore, diffracted into an open plurality, the Reacclimating the Stage (Skenomorphoses) artistic research project takes the earlier notion of time as a raw material to reexamine, from an eco-scenic and research perspective, in order to transform the theatrical practice of its author and to trigger the latter’s specific contribution to artistic research milieu. By obliquely playing on one hand with memories of theatrical history of scenic internal modi operandi, architecture, and literature, and on the other hand with institutional requirements for doctoral research appearance, the project aims at repositioning the director's practice in a movement of transition of scenic thinking and imaginary through a series of artistic and research experiments, whose enactments and resonant redistribution are poetically at interpretative play in this exposition.

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Revenance 1 / Actor:Nathalie Ortega

Duration of the session: 1h30'

Nathalie:

« Quand il s’agit de reprendre un rôle lors d’une reprise de spectacle, je sais, je me souviens, toujours où c’est, ce que je dois jouer, je le sais, je m’en souviens, physiquement. Je sais où ça doit être dans la voix. Partout dans le corps, je sais comment ça transpire, même si j’ai oublié totalement le texte.»
«Je ne dis pas que le texte n’a pas d’importance, mais il n’est plus là (elle palpe différentes parties de son corps), ce qui reste est physique, et ces sensations viennent du texte, elles y ont été puisées.»
«Je dirais c’est l’appropriation physique du texte qui reste.»
«J’ai la mémoire de quand et comment le jeu est venu. Je me souviens de ça, des moments quand ça vient.»
«Me revient le cheminement, la construction. Le sous-texte. Mais rien du texte.»
«Je me souviens précisément des costumes, des accessoires. De mes chaussures très bien (elle rit). De la mise des objets en loge. Des changements. De la difficulté à mettre seule dans mon dos le petit coussin de geisha pour l’acte 3.»
«Je me souviens, j’étais là, debout, au bord du lit...»
«Je me souviens du ravage du personnage à ce moment-là. Et puis je sais que je cassais ça, dans un rire.»
«Je me rappelle très bien de mon entrée en geisha dans l’acte 3. De la chorégraphie. De la position de mes pieds.»
«Je me souviens des fesses de Denis, là, juste là. De lui donner un petit coup sec d’éventail et de voir la marque rouge apparaître. »

ENG

"When it comes to warming up a role for a show revival, I know, I remember, always where it is, what I have to play, I know it, I remember it, physically. I know where it has to be in the voice. All over my body, I know how it sweats, even if I forgot the text completely.”
"I am not saying that the text does not matter, but it is no longer here (she touches different parts of her body), what remains is physical and these sensations come from the text, they were taken from it."
"I would say it's the physical appropriation of the text that remains."
"I have a memory of when and how the acting came. I remember that, the moments when it comes. ”
“What comes back is the path, the construction. The subtext. But nothing of the text."
“I remember precisely the costumes, the props. My shoes very well (she laughs). Putting objects in a box. Costumes changes. The difficulty to put on behind my back the little geisha cushion for act 3."
"I remember, I was there standing on the edge of the bed..."
"I remember the collapsing of the character at that very moment. Then I know I was breaking it, laughing. ”
"I remember very well my entry dressed as a geisha in act 3. The choreography. The position of my feet."
"I remember Denis' buttocks there, right there. Giving him a little fan swipe and see the red mark appear on the cheek."

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