On the stage, a set of metal plates or blades (copper, tin, steel...) are suspended vertically, like a keyboard: from the thinnest (0.1 mm) to the thickest. Conceived by Philippe Foch as a real instrument, this ensemble is played either by stirring the air without touching the material, with feathers or large African brooms, with the fingers by twisting the plates (using the tabla technique) or with mallets on the thickest metal of the large plates.
These blades and plates are also the projection medium for a "handmade" film: images evolving in the colors and lights of an autumn walk in the Auvergne, a garden in spring, and the reflections of a blinding sun on the water: a film made from the materials of natural elements, a theater of dreams. He alone lights the stage.
The plates become complex, living tableaux, which, through their own interplay of material and light reflection, give full power to the image.
The sound and musical work is closely linked to the luminous material of a delicate vibratory world, caressed, blown to the point of torsion, saturation and blindness. Starting from the most minute, on the edge of the silence of illusion where light becomes sound, we cross the strata of the vibration of these plates (granular, rhythmic, polyphonic) until we reach a sonic and spatial conflagration - like being on the high seas - towards a finale without a body, composed solely of the resonances and memories of these plates.
Each plate or group of plates is captured, processed and transformed electronically, controlled by the expert hands of Maxime Lance. Electronic processing and spatialization give the sound composition its polyphonic dimension, immersing the audience in a variety of spaces.
Production and distribution
Athénor | Centre national de création musicale (Saint-Nazaire)
Musical commission
Festival Aujourd'hui Musiques de l'Archipel, scène nationale de Perpignan and Athénor scène nomade - CNCM.
With the support of
Césaré - CNCM (Reims)
Philippe Foch
A versatile musician, Philippe Foch enjoys crossing territories, from traditional, improvised and electroacoustic music to theatrical and performance experiences. Trained as a percussionist and originally a drummer, Philippe Foch has for many years cultivated a strong relationship with the tabla, which he learned on several trips to India. His career has been marked by this oral musical tradition, which has led to numerous encounters with theater, circus and dance.
He founded Les Amants de Juliette with Benoît Delbecq and Serge Adam, and has been the drummer for the Akosh S. Unit and Didier Malherbe. He shares numerous projects with musicians and composers such as Eryck Abecassis, Kasper T. Toeplitz, Philippe Le Goff, Christian Sebille, Erwan Keravec, Mathias Delplanque, Didier Petit, Sylvain Kassap, Franck Vigroux, Hélène Breschand, Maguelone Vidal, Benjamin Bondonneau, Simon Henocq, Kristof Hiriart, Toma Gouband... always curious and eager to meet new people.
He has developed his language and his relationship with matter through several solos, including Taarang, an ensemble of twelve tablas (in concert and on CD on the Signature Radio France label with guests), Laand solo stones and electronics, and finally Métal mémoire for an ensemble of plates and filmed matter.
His career path regularly leads him to work at crossroads with other artistic languages: in circus with Jeanne Mordoj and Mathurin Bolze for many years, in theater, with François Cervantès and Catherine Germain, and much more recently with Olivier Martin-Salvan who invited her for a duet Jacqueline, écrits d'art brut created in 2019-20 and performed many times, in the relationship with writers with Claudine Galea or Raharimanana, in dance with Sophiatou Kossoko or the Brazilian choreographer Volmir Cordeiro for a next creation in 2021...
As an associate artist of Athénor since 2006, he has created several shows, including Kernel, a solo sound miniature conceived with Brigitte Lallier-Maisonneuve, Jardin et Extérieurs jours with Philippe Le Goff, Imaïntsoo, an operatic tale by composer Jean-Christophe Feldhandler, and Variations -Tempus #3 by and with Aurélie Maisonneuve.
In the same vein that led to the creation of Métal mémoire, Philippe Foch is currently deepening his research with pianist Sophie Agnel and lighting designer Jean Gabriel Vallot, in a process that should culminate in the creation of Lumens.
Maxime Lance
Trained as a sound technician, Maxime spent ten years with Césaré CNCM (Reims) as head stage manager and sound engineer, during which time he trained in software development on several platforms (Max/MSP, PureData and Arduino).
At the same time, he reinforced his theoretical knowledge of analog and digital electronics by designing various pieces of equipment dedicated to live performance or audio practice: connected bass for Floy Krouchi, dedicated sensor device for Louis Chétiennot, microphone, preamps, audio compressors...
Curious and a true enthusiast, he has also taken to assiduously frequenting Fablabs and practicing equipment such as 3D printers and Laser cutting, integrating "maker" culture into his practice of technique dedicated to the artistic.
Since his emancipation from Césaré in early 2019, Maxime Lance has been working as a general manager, sound engineer, sound designer and developer. Within Sonopopée, he has created a variety of compositional tools and devices for numerous artists from different disciplines.
He has designed and built a midi harp for Gustine (MIA in 2019), an electromechanical percussion device (midi-controlled) for Sylvain Darrifourcq(Fixin in 2019), an elecromechanical and sound device (OSC-controlled) for Renaud Herbin and Philippe Le Goff(Alentours / FMTM creation in 2019), and a 3D-printed connected egg incorporating sensors for the Ma Thea collective(Coucou, very young audience show / FMTM creation 2019).
As general stage manager, he is currently collaborating with Philippe Foch on Jacqueline et Métal Mémoire and with Christian Sebille on Paysage de Propagations.
Maxime Lance could define his practice as that of a "Sound Maker" of live performance.
Friche la Belle de Mai (Grand Plateau)
41 Jobin Street13003
Marseille
DURATION
approx. 1h00
RATES MODULATED
Full: 8€
Reduced: 6€*
*Young people aged 12-25, students, jobseekers, people on minimum social benefits, intermittent workers, seniors aged 65 and over - on presentation of proof.
Free admission for Modulations loyalty card holders (by reservation only)
PRACTICAL INFORMATION
Latecomers will not be admitted to the auditorium, as some shows do not tolerate late entry - at the request of the artistic teams.
TICKET BOX
Online: gmem-cncm.mapado.com
By e-mail: billetterie@gmem.org
On site: on the day of the performance, half an hour before the show, subject to availability.
WITHIN THE MODULATIONS
What are the Modulations?
Concerts, performances, regular events...
In other words, a season organized by the GMEM.
2nd semester dates:
21/01/25- 18/02 - 18/03 - 23/03 - 15/04 - 11/05
Philippe Foch
design, composition and performance
Maxime Lance (Sonopopée collective)
sound processing and broadcasting
Stéphane Bordonaro
image and light processing
Angélique De Putter
Philippe Foch
voices
Bernard Poupart
collaboration on set design and lighting: