Launched in 2020, Ircam's Musiques-Fictions collection offers a unique literary and sound experience, combining a contemporary text with a musical creation, in an immersive broadcasting system.... Installed under Ircam's 49-speaker ambisonic diffusion dome, reconstituted in the GMEM Module, the listener is invited to a listening experience in which the imagination is stimulated by a sound environment with extensive expressive possibilities, enabling the reproduction of a
listening situation close to that of the real world, from the great spectacular stage to the most minute details of intimate discourse.
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This Musique-Fiction 8 entitled "La Compagnie des spectres" tells the story of two women, a mother and daughter, haunted by memories of the Occupation and the Second World War, who live behind closed doors in a three-room apartment in a Créteil housing estate.
The mother suffers from dementia and believes she is still being persecuted by Pétain or Darlan. The visit of a bailiff to make an inventory prior to the seizure of their furniture triggers the intertwined stories of their respective lives. Before the impassive lawman, the two women engage in furious monologues that are as hilarious as they are monstrous.
Production
Ircam-Centre Pompidou
Support
Sacem ; CNM
Based on
"La Compagnie des spectres" by Lydie Salvayre (1997) © Éditions du Seuil
In partnership with
la Friche la Belle de Mai
"By invoking spectres, Lydie Salvayre sets up a veritable huis clos, sometimes perceived as a small, restricted space (the present), sometimes as a vast, gaping space (the past). As if by incantation, the dialectic of here and elsewhere is cancelled out. In Lydie Salvayre's novel, space and time become two uncircumscribed dimensions, where the voices of Anne-Laure Liégeois's three characters bang and bounce. She magically uses a whole range of intonations, violent or tender, icy or sensitive, playful, funny or bitter, raw or convoluted. In this way, she constructs a dramaturgy of enunciation which, for me, is already the music of the text spoken aloud. Isn't the writing of voices the writing of enunciation? Élise Chauvin's singing voice will have to interweave her breathing, her breath and the heights of her singing with the orality of the text, like a poetic transformation from speech to song. This voice, sung in the various rooms of the apartment, will enter into a poetic resonance with the words spoken. In this way, language and music come together in a new way. The sung voice, interwoven with the actors' voices, will be THE link between music and literature, bringing with it the piano part played by Alphonse Cemin and the electroacoustic device designed in the studio. "
- Florence Baschet
"ENTERING a three-room apartment in Créteil (from the very first written words), UNDERSTANDING (very quickly, if you compare the title of the novel with the first lines) that it's going to be about the pain of an experience that confronts the present with the weight of the past, LAUGHING (from the end of the first page), at the absurdity of a situation that's going to bring a man and two women face to face, a bailiff and the two wretched women he's come to "seize". These are the first uppercuts taken by the adaptor of a 200-page work, with its chiseled language, perfect construction and powerful political message, all of which she has to absorb and resolve in just under 21,000 characters! And the gripping effect continues. MEET the incredible Florence Baschet, who is madly passionate about sound expression, and PERCEIVE with joy that the words of the book will no longer have the intimate voice of her head (that of the adaptor, in this case mine), that voices will soon have to take shape and that this material composed by the alchemy between Lydie Salvayre's words, of her powerful literary language, between Annie Mercier's rocaille, Anne Girouard's shaken sibilance and Olivier Dutilloy's placid, cynical youth, this material will be offered up to the passionate violence of the composer.
An adventure! All that remains for me is to live (for a long time to come) with those who, after having taken on life, have taken on flesh, the spectres of Lydie Salvayre.
- Anne-Laure Liégeois
Lydie Salvayre
Author
Born in 1946 to an Andalusian father and Catalan mother, who had fled to France in February 1939, Lydie Salvayre spent her childhood in Auterive, near Toulouse. After graduating from the University of Toulouse with a Bachelor's degree in Modern Literature, she studied medicine at the Toulouse Faculty of Medicine, followed by an internship in psychiatry. She became a child psychiatrist, and was Medical Director of the CMPP in Bagnolet for 15 years. Lydie Salvayre is the author of some twenty books, translated in many countries, some of which have been adapted for the stage. "La Déclaration" (1990) won the Prix Hermès for first novel, "La Compagnie des spectres" (1997) won the Prix Novembre (now the Prix Décembre), "BW" (2009) won the Prix François-Billetdoux and "Pas pleurer" (2014) won the Prix Goncourt.
Florence Baschet
Composer
A composer born in Paris, Florence Baschet began her musical studies at the École Normale de Musique de Paris and the Conservatorio Santa Cecilia in Rome, then in musicology, harmony and counterpoint in Paris. She then turned her attention to the new acoustic instrumental lutherie (and in particular the Baschet crystal), an instrument she explored in several directions, such as the Carnatic music of South India, the musical milieu of jazz and the possibilities of sound transformation by electroacoustic devices. In 1992, she joined Ircam's composition and computer music program, after which she wrote Alma-Luvia. She was subsequently commissioned by Ircam to write "Spira Manes", and by the French government to write "Sinopia et Aïponis" for the ensemble L'Itinéraire, whose artistic director, composer Michaël Levinas, actively supports her work. She went on to write "Femmes" for Radio France, "Filastrocca" for the Manca Festival, "Bobok" for the 2e2m ensemble and the GRM, "Trinacria", commissioned by Musique Nouvelle en Liberté, and "BogenLied", the first piece written for the augmented violin, for the Why Note Festival.
One of the guiding threads of his work is the critical integration of a natively instrumental vocabulary into his writing. Continuing his research at Ircam has led him to work in the field of mixed music, which combines the soloist with the electroacoustic device in a particular interactive relationship linked to the instrumental gesture, and which seeks to highlight the interpretive phenomena on which sound transformations depend.
Anne-Laure Liégeois
Stage director
Anne-Laure Liégeois alternates between staging ancient and classical texts and collaborating with contemporary authors. She often translates and adapts the texts she stages. She works with opera, particularly Baroque music, and regularly collaborates with opera singers and contemporary composers. She has directed a Centre Dramatique National and is an associate artist at numerous Scènes nationales. She works both in theatres and in public spaces.
She works in Morocco, Quebec and other French-speaking countries. In July 2021, she premiered Ibsen's "Peer Gynt" at the Théâtre du Peuple de Bussang; in September 2021, she created "Fuir le Fléau", a commission to 16 playwrights for "theaters in health crisis situations". In 2022, she will stage Arno Bertina's novel "Des Châteaux qui brûlent". She is the stage director for the reopening of the BnF Richelieu.
Serge Lemouton
Computer music director
After studying violin, musicology, writing and composition, Serge Lemouton specialized in the various fields of computer music at the Sounds Department of the Conservatoire National Supérieur de Musique de Lyon. Since 1992, he has been RIM at Ircam. He collaborates with researchers on the development of computer tools and participates in the realization of musical projects for composers including Florence Baschet, Laurent Cuniot, Michael Jarrell, Jacques Lenot, Jean-Luc Hervé, Michaël Levinas, Magnus Lindberg, Tristan Murail, Marco Stroppa, Fréderic Durieux and others. He has produced and performed in real time several works by Philippe Manoury, including K..., la frontière, On-Iron, Partita 1 and 2, and Luca Francesconi's opera Quartett. At present, he is particularly interested in the transmission and preservation of works from the computer music repertoire.
Friche la Belle de Mai (the Module)
41 Jobin Street13003
Marseille
RATES
Full: 8€
Reduced: 6€ *
* Young people aged 12 - 25, students, jobseekers, people on minimum social benefits, intermittent workers, seniors aged 65 and over - with proof of age.
DURATION
50 min.
Lydie Salvayre
text
Florence Baschet
music
Anne-Laure Liégeois
adaptation
Serge Lemouton
computer music production Ircam
Luca Bagnoli
sound engineering
with the voices of
Annie Mercier
(Rose Mélie, the mother)
Anne Girouard
(Louisiane, the daughter)
Olivier Dutilloy
(Maître Échinard)
music recorded by
Élise Chauvin
soprano
Alphonse Cemin
piano