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SALLE BOURGIE Ioe SAISON La Salle Bourgie Présente H 30 CAMILLE CLAUDEL : DANS L’OMBRE DU GÉANT

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SALLE BOURGIE Ioe SAISON La Salle Bourgie Présente H 30 CAMILLE CLAUDEL : DANS L’OMBRE DU GÉANT SALLE BOURGIE IOe SAISON La salle Bourgie présente h 30 CAMILLE CLAUDEL : DANS L’OMBRE DU GÉANT Stéphanie Pothier Julien-Robert et mezzo-soprano, photographie et Stéphanie Pothier idée originale conception vidéo et scénographie Quatuor Molinari Jean-François Patoine éclairage Olga Ranzenhofer violon Antoine Bareil violon 17 — AVRIL 28 MERCREDI ET 27 MARDI Frédéric Lambert alto Pierre-Alain Bouvrette violoncelle Claude Debussy Jake Heggie (1862-1918) (né en 1961) Trois Chansons de Bilitis Camille Claudel: Into the Fire (1898; arr. Jake Heggie) (2012) La Flûte de Pan Prelude: Awakening La Chevelure Rodin Le Tombeau des Naïades La Valse Shakuntala Germaine Tailleferre La Petite Châtelaine The Gossips (1892-1983) L’Age mûr Epilogue: Jessie Lipscomb visits Quatuor à cordes (1919) Camille Claudel, Montdevergues Modéré Asylum, 1929 Intermède Final (Vif - Très rythmé - Un peu plus lent) Concert présenté sans entracte / Concert presented without intermission Concert disponible en webdiffusion du 12 au 26 mai / Concert available online from May 12 to 26 Une production de Projet ClairObscur www.stephaniepothier.com / A Projet ClairObscur production www.stephaniepothier.com Veuillez noter que le port du masque de procédure est obligatoire en tout temps durant le concert / Please note that a surgical mask must be worn at all times during the concert PM 5:30 — 28 APRIL AND WEDNESDAY, 27 APRIL TUESDAY, DANS L’OMBRE DU GÉANT : UNE RÉFLEXION SUR LES ŒUVRES LA PLACE DES CRÉATRICES DANS L’HISTOIRE DE L’ART Vivre, aimer, créer dans l’ombre d’un To live, love, and create in the géant : tel fut, au tournant du siècle shadow of a giant: at the turn of the dernier, le sort de plusieurs créatrices last century, such was the plight of qui ne pouvaient exister autrement many women creators who could que dans la lumière d’un homme. not exist otherwise than by a man’s Camille Claudel, animée d’une fureur light. Driven by a fury of creativity créatrice jusqu’à son internement à until she was institutionalized at the 49 ans, vécut une passion tourmentée age of 49, Camille Claudel had a avec Auguste Rodin, passion tormented love affair with Auguste qui nourrit son art autant qu’elle Rodin that fuelled her art as much as la consuma. Reconnue comme it consumed her. One of the greatest l’une des plus grands sculpteurs sculptors in France, she nonetheless français, elle n’aura pourtant jamais was denied the opportunity to eu la possibilité de vivre de son earn a living from her work because travail, simplement parce qu’elle she was a woman. Such repression était née femme. On peut imaginer of female artists’ creative impulses comment la répression des pulsions because of pervasive sexism affected créatrices de ces artistes féminines their psyche, complicated their face au sexisme inhérent à leur development and in some cases, époque a pu affecter leur psyché compromised their mental health. et compliquer leur épanouissement, The artistic approach of Projet et, dans certains cas, faire ClairObscur transcends the basculer leur santé mentale. performer’s gaze on another La démarche artistique particulière creator’s work. Its goal is to enter à Projet ClairObscur vise à the flow of different intersecting dépasser la position d’interprète artistic disciplines to generate de l’œuvre d’un autre créateur et à inter-media and intergenerational s’intégrer dans un parcours dans creations. Seeking to deepen my lequel les différentes disciplines exploration of the themes of Jake artistiques s’entrecroisent pour Heggie’s song cycle Camille Claudel: stimuler la création intermédiatique Into the Fire, I travelled to the Rodin et intergénérationnelle. Dans Museum in Paris to photograph l’optique d’explorer en profondeur sculptures by Claudel that inspired les thématiques de Camille Claudel: the songs’ texts. Julien-Robert then Into The Fire, de Jake Heggie, teamed up with me to design video je me suis rendue au Musée Rodin animations from these photos, which de Paris pour photographier are projected on the eight screens les sculptures de Claudel ayant that adorn the stage, and at the inspiré l’écriture du texte de ces centre of which the Molinari Quartet mélodies. À partir de ces photos, and I perform the music. This artistic Julien-Robert a conçu, avec moi, cross-referencing seeks to illuminate des animations vidéo projetées the work of Camille Claudel and her sur huit écrans qui forment female contemporaries who have la scénographie au centre de laquelle remained too long in the shadow of le Quatuor Molinari et moi-même great male artists of their time. interprétons l’œuvre musicale. En croisant les disciplines artistiques, THE WORKS cette proposition multimédia souhaite attirer l’attention sur l’œuvre de An exceptionally talented and Camille Claudel et celle de ses ambitious artist, Camille Claudel contemporaines, trop longtemps began working with Auguste Rodin restées dans l’ombre des géants as his assistant before becoming LES ŒUVRES masculins de leur époque. one of his models, then his muse and ultimately his lover for roughly Artiste au talent exceptionnel et a decade. Rodin’s philandering, d’une grande ambition, Camille his refusal to leave his companion Claudel sera d’abord l’assistante Rose Beuret to marry her, and du sculpteur Auguste Rodin, puis her own yearning for artistic un de ses modèles, sa muse et son independence eventually crushed amante pendant une décennie. the romantic relationship between Le caractère volage de Rodin, son them. Nevertheless, her bittersweet refus de quitter sa compagne, connection with Rodin obsessed Rose Beuret, pour épouser Camille, Claudel for the rest of her life, ainsi que les aspirations et la soif marking her works and feeding d’indépendance artistique de ARTISTE AU TALENT EXCEPTIONNEL ET D’UNE GRANDE AMBITION, CAMILLE CLAUDEL SERA D’ABORD L’ASSISTANTE DU SCULPTEUR AUGUSTE RODIN, PUIS UN DE SES MODÈLES, SA MUSE ET SON AMANTE PENDANT UNE DÉCENNIE. psychotic delusions, as she la sculptrice finirent par avoir raison became convinced that “Rodin’s de la relation amoureuse entre gang” was plotting to undermine les deux artistes. Cependant, cette her professional ambitions. relation douce-amère obséda Camille jusqu’à la fin de ses jours, This concert’s centrepiece, Camille influençant tant ses œuvres Claudel: Into the Fire by American que ses délires psychotiques, composer Jake Heggie, is inspired convaincue que « la bande à by six of Claudel’s most important Rodin » travaillait à nuire à ses sculptures, linking them to biographical accomplissements professionnelles. events or angles of her psyche, and approaching several themes. As for La pièce centrale du concert, the images, they show Claudel’s Camille Claudel: Into The Fire, gifts under these different angles: du compositeur américain Jake disappointment in love (Rodin); ardent Heggie, s’inspire de six sculptures passion (La Valse); love, surrender, majeures de Claudel, en les reliant broken promises, and forgiveness, à des épisodes biographiques ou expressed in the myth of Shakuntala des éléments de sa psyché. De (Shakuntala); abortion, hidden in the nombreux thèmes y sont abordés countryside from public scrutiny, et les images prennent la mesure de Claudel sculpting the bust of a child la maîtrise artistique de la sculptrice : (La Petite Châtelaine); paranoid la déception amoureuse (Rodin); delusion intertwined with artistic la passion ardente (La Valse); THE WORKS l’amour, l’abandon, les promesses inspiration (The Gossips); final brisées et le pardon, illustrés à separation (L’Âge mur); withdrawal travers le mythe de Sâkountalâ from the world (Epilogue: Jessie LES ŒUVRES (Shakuntala); l’avortement subi à Lipscomb Visits Camille Claudel, l’abri des regards à la campagne, Montdevergues Asylum, 1929). alors que Camille sculptait un buste Camille Claudel’s contemporary d’enfant (La Petite Châtelaine); Germaine Tailleferre was the only le délire paranoïaque entremêlé à female member of Les Six, which l’inspiration artistique (The Gossips); also included Francis Poulenc and la séparation définitive (L’ Âge mûr); Darius Milhaud. Though the “men le retrait du monde (Epilogue: Jessie of her life” – her father and both her Lipscomb visits Camille Claudel, husbands – cast numerous obstacles Montdevergues Asylum, 1929). in her way as a professional musician, Contemporaine de Camille Claudel, she persevered and produced a Germaine Tailleferre est l’unique diverse, wide-ranging, and very fine membre féminin du groupe des Six output that has sparked renewed qui comptait, entre autres, Francis interest in recent years. As we listen Poulenc et Darius Milhaud. Bien to her String Quartet, we savour que les « hommes de sa vie » (son the work of several Paris-based AS WE LISTEN TO HER STRING QUARTET, WE SAVOUR THE WORK OF SEVERAL PARIS-BASED WOMEN ARTISTS OF THE SAME PERIOD AS CLAUDEL AND TAILLEFERRE, OBSCURED BY UNFORTUNATE UNDERREPRESENTATION IN THE CANON OF PUBLIC CULTURE. père et ses deux époux) aient semé women artists of the same period plusieurs embûches sur son chemin as Claudel and Tailleferre, obscured de musicienne, elle persévéra, laissant by unfortunate underrepresentation ainsi un vaste corpus d’œuvres in the canon of public culture. variées d’une grande qualité. Depuis Claude Debussy’s Trois Chansons quelques années, un nouvel intérêt de Bilitis have special meaning in se manifeste pour son travail. Pour this program because of their accompagner son Quatuor à cordes, fantasized expression of the nous avons choisi des œuvres de liberated woman. Their texts’ peintres féminines ayant œuvré à author Pierre Louÿs published Paris à la même époque que Claudel Les Chansons de Bilitis under the et Tailleferre, mais malheureusement claim that they were a translation peu présentes dans notre catalogue of an ancient Greek collection by commun de culture générale. the poet Bilitis, whose simple style and personality embraced classical, unfettered sensuality, THE WORKS En raison de la représentation at once Sapphic and somewhat fantasmée de la femme libre qu’elles conventional.
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