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After Suites No1, 2 and 3, Encyclopédie de la parole returns with the final part of their highly acclaimed series. For Suite No4, the collective returns to the source, the raw material that forms the basis of the previous iterations: the recorded voices of their rich sound collection. It is no longer actors who bring lost voices to life, but the speakers themselves who return from the past to speak with their own voices. Despite this physical absence, the characters are perceptibly present. Like ghosts, they return from a distant place and let their voices be heard. Get ready for a mental trip that makes use of all the theatre’s resources. As in opera, the voices are supported and carried by an instrumental accompaniment performed by seven musicians of the Brussels ensemble Ictus. By focusing on the infinite versatility and musicality of human speech, Suite No4 is a celebration of what is most vivid and most fleeting about humanity. It is a way of letting all those valuable but otherwise unheard voices resonate one last time.
See also: Kids
Confronted with the SARS-CoV-2 crisis, we had to cancel this project
Conception: Encyclopédie de la parole & Ictus
Dramaturgy and direction: Joris Lacoste
Instrumental music composition: Pierre-Yves Macé
Electro-acoustic music composition: Sébastien Roux
Audio document collectors: Julie Etienne, Joris Lacoste, Oscar Lozano Pérez and
Sound: Stephane Leclercq and Alexandre Fostier
Light design and scenography: Florian Leduc
Graphic design and video: Oscar Lozano Pérez
Artistic collaboration: Elise Simonet, Oscar Lozano Pérez and Nicolas Rollet
Production and administration: Edwige Dousset and Garance Crouillère
With: Hugo Abraham (double bass), Tom De Cock (micro-percussion, vibraphone, timpani), Chryssi Dimitriou (double bass flute, bass flute, G flute), Annie Lavoisier (harp), Luca Piovesan (accordion), Jean-Luc Plouvier (electronic keyboard), Eva Reiter (Paetzold flute, viola da gamba), Primož Sukič (electric guitar, acoustic guitar)
Guest audio document researchers: Harris Baptiste (HT), Charlotte de Bekker (NL), Sachith Joseph Cheruvatur (ML), Sibel Diker (TR), Lucas Guimarães (BR), Otto Kakhidze (KA), Priscila Natany (BR), Nicolas Rollet (IT), Ghita Serraj (AR), Ece Vitrinel (TR)
With the help: of Naby Moïse Bangoura, Anne Chaniolleau, Maria Cojocariu, Hélène
Collin, Pauline et Balthazar Curnier-Jardin, Monica Demuru, David-Alexandre
Guéniot, João Fiadeiro, Oleg Khristolyubskiy, Anneke Lacoste, Kathy Kyunghoo Lee,
Sabine Macher, Federico Paino, Jin Young Park, Sergiu Popescu, Irina Ryabikina, Ling Zhu
Production: Echelle 1:1 (company subsidized by the Ministère de la Culture et de la Communication / DRAC Île-de-France and by the Conseil régional d'île-de-France) in partnership with Ensemble Ictus (supported by the European Commission, the Flemish Community - Vlaamse Overheid et Vlaamse Gemeenschapscommisie)
With the support of the Fondation d’entreprise Hermès within the framework of the New Settings Program
Coproduction: MC93- Maison de la Culture de Seine-Saint-Denis (Bobigny)/ Festival d’automne à Paris Théâtre National de Strasbourg, Wiener Festwochen, KunstenFestivalDesArts, Kaaitheater, Ensemble Ictus, Teatro Municipal do Porto, Le Quartz - Scène Nationale de Brest
Suite n°4 was in residency at Les Subs during the Season 2019-20Back to top
Encyclopédie de la parole
L’Encyclopédie de la parole is an artistic project exploring the spoken word in all its forms. Since September 2007, l’Encyclopédie de la parole has been collecting all kinds of recordings and indexing them according to specific speech phenomena related to the manner in which people speak, like cadence, chorality, timbre, enunciation, emphasis, spacing, residue, saturation, and melody. Each of these aspects constitutes an entry in l’Encyclopédie, all of which contain a corpus of audio files and an explanatory note.
From this collection, which now comprises more than 1,000 documented recordings available for free online listening, l’Encyclopédie de la parole produces sound pieces, performances, shows, conferences, concerts, and installations.
L’Encyclopédie de la parole is led by a collective of poets, actors, visual artists, ethnographers, musicians, curators, directors, dramatists, choreographers, and radio producers. Its slogan is: “We are all experts in speaking”.
L’Encyclopédie de la parole received the label European Year of Cultural Heritage 2018. It is supported by ARCADI - Initiative and Research Support Fund, and by the National Centre for Cinematography - DICRéAM
Ictus is a contemporary music ensemble from Brussels. Since 1994 it has coexisted with P.A.R.T.S dance school and Rosas dance company (directed by Anne-Teresa De Keersmaeker), with which it has already realised 14 productions, from Amor Constante to Vortex Temporum. The ensemble has also worked with choreographers Wim Vandekeybus, Maud Le Pladec, Eleanor Bauer, and Fumiyo Ikeda. Ictus is a group of some 20 co-opted musicians (including the conductor, Georges-Elie Octors). From the very beginning, Ictus has taken a chance on the irreversible mutation of ensembles towards the mixed status of the electric orchestra, for example by engaging a sound engineer in the role of instrumentalist. Ictus creates a new season in Brussels each year, in partnership with the Kaaitheater and Bozar. This season, it experiments with new programmes in front of a cultivated but not specialised audience: lovers of theatre, dance and music. Since 2004, the ensemble has additionally been in residence at the Lille Opera. Ictus is working on the question of formats and listening devices: very short or very long concerts, hidden programmes (e.g. the Blind Date series in Ghent), concerts with commentary, concert festivals in which the public circulates between podiums (e.g. the famous Liquid Room presented throughout Europe). Finally, Ictus is leading a course of study: an Advanced Master’s degree dedicated to the interpretation of modern music, in collaboration with the KASK School of Arts in Ghent. More information, as well as a blog and lots of audio material, are available on the website.
Pierre-Yves Macé’s music intersects contemporary composition, electroacoustic creation, sound art, and a certain rock sensitivity. An important part of his work is based on the concepts of recycling, appropriation, and citation. Begun in 2010, Song Recycle for piano and loudspeaker, resumes and transforms a selection of amateur vocal performances gathered on YouTube. Published on the labels Tzadik, Sub Rosa, and Brocoli, his music is performed by different ensembles, namely: Cairn, L’Instant Donné, the Paris Chamber Orchestra, the Hong Kong Sinfonietta, Cris de Paris, and collectif 0 (‘zero’). He also collaborates with the artist group Hippolyte Hentgen and with writers Mathieu Larnaudie, Philippe Vasset, Pierre Senges, and Julien d´Abrigeon, composing the music for productions by Sylvain Creuzevault, Christophe Fiat, Joris Lacoste, Anne Collod, and Fabrice Ramalingom. In 2014, Macé received a laureate from the Hors les murs residency (French Institute) for his project Contreflux. Supported in 2009 by the University of Paris 8, his doctorate in musicology was published by Les presses du réel in 2012 under the title Musique et document sonore.
Sébastien Roux composes experimental music, presented in the form of records, listening sessions, installations or sound tours, and radio sessions. He works around the questions of listening, sound space, and composition that start with formal constraints. Since 2011, he has been developing an approach based on the principle of sound translation, which consists of using a pre-existing work (visual, musical, literary) as a score for a new sound piece. He also works with the ensembles Dedalus and GEX. In parallel, Roux regularly collaborates with artists from different fields, such as author Célia Houdart and scenographer Olivier Vadrot, with whom he has realised transdisciplinary and in-situ projects. He has also worked with American choreographer DD Dorvillier on the relationship between dance and music. Roux has received commissions and residencies from EMPAC, Deutschlandradio Kultur, WDR, ZKM, RSR, GRM, Scène Nationale de Montbéliard, La Muse en Circuit, CESARE, and GMEM - CNCM. He was laureate at the Villa Médicis hors-les-murs (USA, 2012) and of the radio art competition La Muse en Circuit. Additionally, he was resident at the Villa Medici in Rome in 2015-2016.
Joris Lacoste has been writing for theatre and radio since 1996 and producing his own shows since 2003. He created 9 lyriques pour actrice et caisse claire at Laboratoires d'Aubervilliers in 2005, and then Purgatoire at Théâtre national de la Colline in 2007, for which he was also associate author. From 2007 to 2009, Lacoste was co-director of Laboratoires d’Aubervilliers. In 2004 he launched the project Hypnographie to explore the artistic uses of hypnosis: it was in this context that he produced the radio play Au musée du sommeil (France Culture, 2009), the performance-exhibition Le Cabinet d'hypnose (Printemps de Septembre festival, Toulouse, 2010), the theatre play The Real Show (Festival d'Automne, Paris, 2011), the exhibition 12 rêves préparés (GB Agency, Paris, 2012), the performance La maison vide (far° festival, Nyon, 2012), and 4 prepared dreams (for April March, Jonathan Caouette, Tony Conrad, and Annie Dorsen, New York, 2012). He initiated two collective projects: the W project in 2004 with Jeanne Revel, which deals with the notion of theatrical representation and notably produces seminars as well as performative games; and l’Encyclopédie de la parole in 2007, with which he created the shows Parlement (2009), Suite n°1 'ABC' (2013), Suite n°2 (2015) and Suite n°3 'Europe' (2017).