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Grame Musiques Exploratoires Saison 2O/21 GRAME MUSIQUES EXPLORATOIRES SAISON 2O/21 P.1 26 SEPTEMBRE 17 OCTOBRE 1 ER DÉCEMBRE 6 DÉCEMBRE 10 FÉVRIER 19H 20 AVRIL 17H 20H 20H 16H 12H30 SAISON UNIVERSITÉ JEAN MONNET, FESTIVAL MUSICA, LES SUBS, LYON THÉÂTRE DE LA CÉLESTINS, SAINT-ÉTIENNE BOURSE DU TRAVAIL 2O/21 STRASBOURG Star Me Kitten RENAISSANCE, OULLINS THÉÂTRE DE LYON Constellations DE SAINT-ÉTIENNE Bibilolo Diffractions Je vois le feu Concert Apéritif Soundinitiative & Nébuleuses Marc Monnet, compositeur Création de Gwen Rouger (Un voyage Yannick Haenel, texte, récitant Ensemble Orchestral Contemporain Arno Fabre, metteur en scène → Tarif plein : 16€ / Nicolas Crosse, composition Étudiants de l’Université Création mondiale Tarif réduit : 5 à 13€ de l'écoute) → Tarif plein : 10€ / réduit : 5€ Jean Monnet de Saint-Étienne → Tarifs : de 6€ à 20€ Billet combiné avec la Lecture de Créations de Vincent-Raphaël Ensemble TM+ Charles Berling & Yannick Haenel : Carinola et Luis Quintana → Tarifs : de 5 à 26€ Tarif plein : 25€ / réduit : 12€ → Gratuit ! 2 SEPTEMBRE 16 & 17 OCTOBRE DU 12 3 DÉCEMBRE DU 9 27 FÉVRIER 25 AVRIL 20H30 AU 14 NOVEMBRE AU 12 DÉCEMBRE 20H 18H LES SUBS, LYON CENTRE POMPIDOU, (VERRIÈRE) THÉÂTRE CRR DE CRÉTEIL THÉÂTRE DE LA THÉÂTRE DE LA CNSMD DE LYON PARIS DE LA RENAISSANCE, RENAISSANCE, OULLINS RENAISSANCE, OULLINS La Bulle- OULLINS Geek Bagatelles Diffrakt Leading Lines Tourniquet La Ralentie Environnement Bernard Cavana, composition Ensemble Orchestral Contemporain Quatuor Tana, L’Enfant inouï Antoine Arnera, musique Pierre Jodlowski, musique, → Tarif : 10€ Créations de Daniel D’Adamo, La Bulle-Environnement accueillera Laurent Cuniot, musique → Tarifs : de 5 à 26€ lumières, vidéo Philippe Hurel et Ivan Fedele de courtes formes artistiques et Sylvain Maurice, texte → Tarifs : de 5 à 26€ → Tarif plein : 18€ / réduit : 14€ des ateliers pour petits et grands. → Tarifs : de 5 à 10€ Pass ManiFeste-Jeune : 10 € → Gratuit, sur inscription ! 19 SEPTEMBRE 16 OCTOBRE 16 NOVEMBRE 3 & 5 DÉCEMBRE, 20 JANVIER 6 MARS 11 MAI 18H & 19H30 17H30 20H 20H & 18H 19H 20H 20H FESTIVAL MUSICA, LES SUBS, LYON MAISON DE LA DANSE, AUDITORIUM-ORCHESTRE PHILHARMONIE DE PARIS THÉÂTRE DE LA THÉÂTRE DE LA STRASBOURG (BOULANGERIE) LYON NATIONAL DE LYON Alto/Multiples RENAISSANCE, OULLINS RENAISSANCE, OULLINS Amstramgrame Soirée Symphonie Le Papillon Noir The Other Agenda music for Concert en hommage → Gratuit, sur inscription ! Jérôme Bel héroïque à Christophe Desjardins Yann Robin, musique (In)Side percussion 2 → Tarif : 20€ Yannick Haenel, texte Conférence sur rien/Rétrospective Orchestre national de Lyon → Tarifs : de 5 à 26€ Benjamin de La Fuente, musique Ryoji Ikeda, conception Jérôme Bel, lecture et conception Création de Lara Morciano Ensemble TM+ et composition. Création mondiale → Tarif : 13€ → Tarifs : de 8 à 49€ → Tarifs : de 5 à 26€ → Tarifs : de 6€ à 20€ 26 SEPTEMBRE 17 OCTOBRE 21 NOVEMBRE 5 DÉCEMBRE 30 JANVIER 6 MARS DIFFUSION 17H & 18H 14H—15H30 16H 16H 19H15 À VENIR PARC DE LA MARQUISE LES SUBS, LYON Programmable CÉLESTINS, THÉÂTRE NOUVELLE THÉÂTRE DE LA (CHÂTEAUVERT), VALENCE THÉÂTRE DE LYON GÉNÉRATION -LES ATELIERS- RENAISSANCE, OULLINS Rayon N Audio Workshop PRESQU’ÎLE (EXTÉRIEUR) Siestes Sebastian Rivas, musique Éloge La conférence PAW est une journée Lecture musicales de Charles Berling LIPS Démocratie Antoine Gindt, texte, livret de la plante entièrement consacrée aux sons Antoine Gindt et Philippe Béziat, Fabrice Jünger, flûte live électroniques et aux technologies & Yannick Haenel Restitution des projets réalisés Frédéric Pattar, musique mise en scène et réalisation Jean-Luc Hervé, compositeur → Gratuit, sur inscription ! audio programmables. dans le cadre du Laboratoire sur un poème d’Arthur Rimbaud Léo Warynski, direction → Gratuit, sur inscription ! → Gratuit, sur inscription ! → Tarif plein : 20€ / réduit : 10€ In(ter)disciplinaire de Prototypes extrait des Illuminations Les Métaboles Billet combiné avec Je vois le feu : Scéniques et Sonores → Gratuit ! Ensemble Intercontemporain Tarif plein : 25€ / réduit : 12€ → Gratuit ! P.3 GRAME La disparition du philosophe Bernard Stiegler avec qui Pourtant, nous avons subi le choc de cette crise pandé- CENTRE NATIONAL DE CRÉATION GRAME entretenait des relations de longue date nous a mique mondiale tant dans l’annulation de la B!ME que, MUSICALE bouleversés autant que sa pensée nous oriente. Ce philo- plus profondément, dans la remise en cause de la direction sophe très proche de nos pratiques musicales et technolo- que prenait notre monde, dans son imprévisibilité et dans giques témoigne de l’absolue nécessité d’une réappropriation ce danger que dénonçait Bernard Stiegler, celui de la des appareils techniques, de la possibilité d’une individua- « synchronisation des consciences » : cette standardisation tion et d’un devenir par-dessus l’imminence de l’« être ». qui désingularise et tend à liquider le processus d’indivi- Giorgio Agamben, un autre philosophe de la contempora- dualisation, fondé sur la possibilité et la liberté de s’oc- néité avance l’idée de rendre à l’usage de l’homme ce qui cuper de ce qui est proprement humain : la vie publique, lui avait été ôté : la profanation des dispositifs. Il nous la science, l’art, les idées en général. D’où notre passion Le 13 mars 2020 devait s’ouvrir notre B!ME, la Biennale des suggère que la technologie, tout comme le code civil ou un pour l’incalculable et l’imprévisible, car c’est là notre rôle : musiques exploratoires, la promesse d’une biennale rêvée, stylo bille sont autant de dispositifs qui conditionnent notre donner les possibilités d’émergence du désir d’une com- festive autant qu’exigeante et inclusive une date que nous faire par leur sacralisation et que leur profanation est la munauté d’écoute, de pratique et de pensée exploratoires, attendions avec impatience… Une date qui finalement sera condition d’un devenir humanisé, d’un devenir citoyen, mû par le dessein de s’inventer un devenir collectif et la celle du début du confinement. d’un devenir artiste, d’un devenir spectateur. possibilité d’une individuation active et consciente. Se sont alors succédées de longues et étranges semaines Cette imprévisibilité nous force donc aujourd’hui à confinées. Des semaines sans concerts, sans spectacles, Cette période de confinement nous aura donné l’opportu- tomber amoureux du problème plus que de la solution, sans expositions – cela n’a bien entendu pas été le pire de nité de bâtir des nouveaux projets et nouveaux partenariats et c’est ce qui nous a orientés et qui nous oriente depuis cette crise sanitaire, loin de là. Durant ces drôles de semaines, scientifiques, pédagogiques et artistiques. Nous avons signé la fondation de GRAME en 1982, malgré le choc de cette arpentant comme jamais son chez soi aux côtés des siens des conventions avec le Conservatoire National Supérieur crise : la recherche et l’expérimentation. quand nous avons la chance d’en avoir, l’équipe de GRAME de Musique et Danse de Lyon comme avec le jeune collectif John Cage définissait justement l’expérimentation en a œuvré, aux côtés des artistes et des structures partenaires de création Êkheìa (ex-Écho), des nombreux partenariats musique (et en général) comme le fait de ne pas savoir que nous remercions, à retricoter une Biennale que la crise scientifiques avec notre équipe de recherche afin de conti- où l’on va. Ne pas savoir où l’on va mais avec une grande sanitaire avait détricotée. nuer le développement de cette aventure open-source qu’est rigueur, pourrait-on dire, car une chose n’empêche pas FAUST, et la mise en œuvre de notre grand projet pédago- l’autre. Cette attitude expérimentale et rigoureuse qui Durant cette période nous avons vu la force et les limites gique Amstramgrame, qui a l’ambition d’approcher l’avenir nous anime, nous pensons qu’elle est aussi la seule voie d’un monde numérique qui à la fois nous rapproche et nous transdisciplinaire d’un monde post-numérique où l’ingé- possible pour ce devenir d’une humanité, tant elle a donné isole. Notre œil de Judas numérique nous aura permis de nierie, le codage, la recherche et l’expression artistique et des résultats dans la production de nouvelles œuvres et ÉDITO garder le contact essentiel et ténu mais il aura montré ses corporelle ont la possibilité d’être appropriés et non subis. de nouveaux savoirs et tant elle peut nous permettre de limites et prouvé que l’être ensemble est une absolue néces- Nous avons amplifié nos relations avec nos partenaires reprendre espoir en l’humanité malgré la complexité et sité, que se retrouver physiquement autour d’une expérience locaux ainsi qu’avec ceux européens et internationaux car l’impression de perte de contrôle. artistique sera toujours la condition d’existence du spectacle plus que jamais notre avenir est « glocal », ancré dans un vivant. Dans le même temps, le numérique nous a pourtant territoire, dans une économie réelle et ouvert sur le monde, Nous sommes donc optimistes et désireux de vous pré- permis d’innombrables tables rondes et débats avec les rayonnant de sens. senter notre saison 2020/2021 que l’équipe de GRAME a acteurs culturels européens et internationaux sur la situation Et comme notre identité est avant tout la création nous concoctée, reports de Biennale amplifiés de nouveaux de la culture durant cette période. Il aura permis aussi à avons construit un projet de télé-Opéra Rayon-N qui en rendez-vous et nouveaux projets qui font de saison en notre équipe de recherche d’organiser des cours en ligne cette période d’arrêt des activités artistiques a permis l’im- saison fleurir
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