…THE PORTRAIT OF THIERRY DE MEY…
Thierry De Mey , was born in 1956 in Bruxels. He is a musician and a cineaste.
I’ve seen his works for the first time in 2008 during the Contemporary Dance Festival in Toulouse. In June, we exchange some french words over phone. He said : « My credo is moving ».
FROM INSIDE TO OUTSIDE
« Meetings and adoptions
punctuate the scope
life or existence
Utopias lost in the shadow of words
Silence denounces the cry
a voice inaudible
Being is empty without
Strings frames
Archers without hands
Humanity without flesh
Heart bodiless
Humanity without heart
Body without flesh
Infinite is the spirit that includes the visible
Deadly is the eye that sees far into the invisible
The master of the human soul is the human soul itself. Does it? I write to persuade me that it exists. I say maybe she will hear me?
Goodnight day
Today you taught me
There is already much
I look forward tomorrow
What do you reserve?
I think of the imaginary
No image
I think tomorrow
Full of dreams
I project off
Will I ever reach me? "
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" Dance, as you work to show us, appears as a place of encounter with oneself. You meet up to humanity to give him the opportunity to tame otherwise. Everything makes sense. No movement is free. The man, at once a segmented, rigid with its environment. Mental deconstruction of belonging to a predetermined environment leading to the discovery and appropriation a new space. Adaptation and reconstruction. Evolution, sharing and exchange ... still many keys to your dance brought.
you remember your first work?
Yes, I remember very well my first work, it does not pay in improvisation: it was a piece of trippy guitar. I realized this first piece in collaboration with Rosas Rosas and Anne Teresa De Keersmaeker. Moreover, it toured the world in the years 80-82. Many people are involved in this project, all seemed marked by the concentration of energy. We met in a shed below a dance studio. Many of them are now conductors jazz band. That time is the opposite of what I practice today. It was just as magical as small grains which are flourishing. We each made our own path.
My credo, my thread is the movement. The role of movement in my approach lies at the heart of my work. And if silence plays an important role in my achievements, because I see where the movement beings establish their inner self. Before you even recognize themselves in a mirror, a man develops its characteristic after a movement. What is important is to get deep into what I is, in the depths of what constitutes each dancer. I then called an ontological movement as a medium for identification. The cinema, for example, reflects the movement as I mentioned, by making visible the ways you move, it allows the identification.
Over time I specified, and refined my work. This led me to all music Maximalist contemporary, but also to other adventures such as Electronic Music and Ictus.
How important is music in your work? Why?
music occupies a central place in my life. Even as a child, while my sister went to her dance class, I practiced the piano. Then I was one of those teenagers who like rock. Aged 18-19 years, the concern of a craft had the better of me, so I chose to go to the School of Cinema. music sounds to me like a story of process, a coincidence structures. It refers to a meeting with the programs. I do not register in the search for a pure classic. I want to make entire human body of the dancer. This is how music is involved, in my creations to the emergence and growth of the movement.
I always dream of playing a piece by Chopin or Liszt, but not for me. Between us I am jealous of all the pianists who finish the evening at the piano. (Laughs)
personalities such Lucie Mongrain and Maurice Bejart have crossed a very natural way in this dance studio. The routes were enriched heavy encounters.
However, I also made from pure music, especially for the orchestra Ichthys, a choreography of body movement.
How did you come to a work such as "Table Music"?
The theme of "Tabula Rasa" was taken literally. The impetus was given by the hands dancers and the dancers soon revolted. When you launch the music that follows the other? Music or dancing? The idea that the power can change camps was an interesting idea. The principle is to give impetus to the dancers and it is for the body to respond on scene. The piece is written for three percussionists with instruments only for tables. Hand position and the "figures" of movement are codified in a directory of symbols. When music and dance meet, the gesture is as important as what it produces.
you ever happen to destroy some of your works?
Consciously not really, I let them die of their natural death, like a sandcastle. When a piece of carelessness, it ceases to live. Some works do not deserve to be reworked or restored. Even if sometimes we have good surprises, there are also bad. The works are free to move towards entropy and destruction.
The challenges are more interesting when they are honestly and reliably identified: for example, I tried to tame the tool in the years 1990-92. I think for any artist, it is a difficult step. The computer quickly became more than a tool, its control is hard. It is easy to be overwhelmed by this tool. So we must learn to tame it, never to use at its fair value.
Are you still in flight or moving image of your dancers, or do you have a rigorously organized life?
I was called a "hold and cat person" because I am told elusive. Regarding the organization, I confess to be inhabited by a genuine sense of claustrophobia related to time. The schedules are not really my friends.
What do you like life?
The hit parade is trivial, not only for me but I think sex comes first. I'm always fascinated by life itself. Love is the life form the most amazing, most incredible. The couple gave birth to a child, like a Brahms symphony. The ability to interact wants equally strong in both situations, what changes is that for the artist that happens in the walls of the brain but the inter-intellectualism is present everywhere.
What inspires you and pushes you to create?
This question is difficult ... EVERYTHING.
You often work in teams. Why?
Who says team meetings and said so rewarding journey and this time, constructive. The primordial reads in mutual esteem, but also in confidence underpinned by a profound respect for others and themselves.
However, I do not always work as a team. With Keersmaeker, for example, we work every 3-4 years together. It is important to balance with moments of solitude, retired. These moments are very fortunate, sometimes one phone call can ruin everything ... I'm looking
... more or less consciously. I like the teamwork because it means disorder. We must take thirty-six miles à la minute to answer many questions simultaneously and manage the machines. It involves a prime consideration at all times, a whole presence to what is happening here and now. It is a sport somewhere where every adventure must be considered novel because if we rest on its laurels, the challenge may fail at any time. I'm learning to cope with the unexpected. The work builds on the group advanced. It evolves from simple exchanges of glances.
Teamwork has nothing to do with the writing activity that requires solitude. Besides, this is a real problem for me is the flat of my life as an artist. I sometimes need to bury myself in my den, to cut my world, so I'm going home to develop the beginnings of a work I had previously thrown the paper out of my mind.
Moments of meetings strongly on the dance take account of the fire ignited by the desire to write. The body becomes a vehicle smelled and felt animated by a vital force. What need will the music she created with meeting someone? That's what feeds my work.
Do you feel you have multiple lives?
No, I do not feel I have many lives because it would mean that some are closed to others, gold is finally in motion a life, simply. It is an art or a great work to return the composition and execution and all disciplines such as business use in one lifetime. I can not help but treat one area, for me everything is connected, each thing is important and essential factor integrator is, I said, movement. I can not exclude the rest, and too bad if you think I'm crazy. Sometimes I think so too, because a single activity is enough to fill a whole life. But it is beyond my strength and my ability to set boundaries because I am in that lives in the study of what moves, what is in constant evolution. If you want, I could not compare myself to a rider of 100 m, however, I find myself more in the triathlon.
Montaigne wrote that we were "interpreters of interpretations"? What do you think?
Yes, this is his epitaph, I think. I have respect, consideration for the "performers" because they give life and movement to the music stopped given by a partition. But what I like and more research is their ability to project their own presence. The interpreter gives his own life, his flesh and blood. They indulge freely even on a very simple music, it's greatly rewarding. The interpretations are like throwing bottles into the sea, they choose their path according to the swell and waves. They have their own life, because such works are the works of the ephemeral movement. You'll understand that I did not choose the strategy as a rope in my work, even the stage directions are totally foreign to me. I do not try to control everything only to open the field of possibilities.
What relationships do you have today, as a spectator, with the cinema? What are your requirements? Have you seen lately long ago that I love you Philippe Claudel, or DST Olivier Assayas ? What did you think?
I have not seen the movies you quote me, but the note and nourish me happy soon. Generally, I consider myself pretty good audience. When I see things that touch me, things big and strong, it acts as a driving me and makes me want to create. Love that I will be making recommendations. I'm going to see movies very enlightening.
There Will Be Blood Paul Thomas Anderson . I returned twice and told all my friends to go see it. It's a film that even by using efficient workings of known and recognized, takes risks. I think particularly at the beginning where two minutes of silence seem like a hole without words, sawn play of light and dark penetrating. The director, in his blood of Hollywood filmmaker has dared. That is an achievement, a challenge.
What does the Man in your eyes?
Kierkegaard wished to inscribe on his tomb "It was the Individual": this formula you speak to? I quite like the idea that the human body is central to the theory of evolution, as proposed by Henry Vanier.
body ... this is what is projected in as an individual. The body does not continue or in notebooks or in cars. Is the envelope of the instrument identifier that interests me more than the individual. Being wise means having overcome the fear of death. The artist becomes just gray. This is the world of Fernando Pessoa. Death is characterized by the absence of movement. It is for me or make a man or heroic fantasies of growing neo-romanticism.
You do not satisfy the sensitivity to shake the spectators. How far are you trying to touch the viewer?
It is often formed by the impact we ourselves have received. Large shocks me that are formed deeper than the things I can work. Trees created by the mind ahead of all creation influence our actions or gestural language. The art challenges, hence the need to vary the forms of creation. I try to aim so far, touch, meet and personally trees imaginary audience. The term "emotion" is overused and represents the wrong handle to hold the pan.
To cause the essential things, I use the outside, it means that we succeed in sensory experience through movement.
On three screens Live "From Inside". Brings interactivity within a work of art? What are its limits in art?
This is a "motion capture device, street children of Kinchasa appear in a face to face very hard with the viewer. Compared to the work this field experiment was not designed from the outset. I'm not looking to generate excitement in the viewer pushing a button. If there interactivity, meaning there. I fear interactivity because it takes the eyes of people on one side fun that does not suit me because it significantly reduces the content. In the room, some thought jumping on the cushions, one even told me that these pads before shouting, referring to a previous exposure, although their presence invited to sit on it, simply. I'm not against video games that engage in my view a responsibility. But "From Inside " , I searched for some balance between interactivity and content . Making the viewer actor in choosing what they watch, it's cool look at the subject ... it must be able to feel more concerned, more affected than if merely passive recipients of visual. That's what makes that I am more touched before men and children Kinchasa . The journey to the heart of a work shall include the concept of return on its not because any evidence of life is borrowing modesty.
briefly How would you describe your work to someone who has seen any of your work?
I made films and composed music in connection with the movement, in a didactic way. I try to capture what happens when we identify our own movements. I am in search of what's happening in the essential mechanism of the dance. In this sense, the workshop consists of dance movements but also of non-movement. "
If Gilles Deleuze referred to" leave philosophy by philosophy, "Thierry de Mey defines the movement by its absence, because" only the traces are dreaming "(René Char) ... So it remains for us to follow these "traces" and revisit at will by their movements the intimate smile that unites us to life!
AND FROM OUTSIDE TO INSIDE ...
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