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THIS IS NOT a DREAM Magic Lantern for Satie/Cage ! Louise MOATY, Conception and Projections Alexeï LUBIMOV, Pianos !

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THIS IS NOT a DREAM Magic Lantern for Satie/Cage ! Louise MOATY, Conception and Projections Alexeï LUBIMOV, Pianos ! CREATION 2014/15 THIS IS NOT A DREAM Magic Lantern for Satie/Cage ! Louise MOATY, Conception and Projections Alexeï LUBIMOV, Pianos ! Executive producer I Fondation Royaumont Co-production I Théâtre de l’incrédule, IMEC Abbaye d’Ardenne - Caen, Théâtre de Caen, Maison de la Musique Nanterrre Residencies l Abbaye de Noirlac CCR, Scène nationale d’Orléans with the precious help of Compagnie Les Rémouleurs, technical stuff of the Théâtre de Caen, FormaTTec – Porrentruy (Switzerland) OPTICAL CONCERT In her singular makery, Louise Moaty reinvents a new type of dialogue between image and music. Linked to pre-cinema, object theatre or cinetic art, the shadow play and projections of her magic lantern interact with the pieces for piano of Erik Satie and John Cage, to create a dreamlike musical landscape, and open new dimensions full of surprises… Contact production / diffusion : Compagnie Louise Moaty Elisabeth Le Coënt [email protected] / +33 6 10 77 20 25 From Satie to Cage… Erik Satie, John Cage: two composers who surveyed the full range of music’s potential, and between whom one can discern the horizon of a musical landscape whose perspectives were clearly identified by Satie in his role as the father of modern music. Following in the footsteps of a creator for whom his admiration knew no bounds, the American composer and visual artist John Cage embarked on his own explorations, asserting the artistic filiation of the two men. In this school of free inquiry, the keyboard plays the role at once of playing field and testing ground. By turns ludic, esoteric, meditative or absurd, provocative, tender or explosive, but always poetic, the music of Satie and Cage – played here on piano, prepared piano, or toy piano – seems to transport us according to the whims of a witty and mysterious mechanism conceived to dream itself into existence. Midway between art and science, the moving images of the magic lantern – hand-painted glass plates and miniature mechanisms for spectacle, shadow theatre or infinitely small objects – are projected on a round, moon-like screen floating above the pianos. In harmony with this sonic mechanism, they portray the strange movements of a universe that might be play, respiration, the science of chance, or the wanderings of a dreamer. Intentions It was thanks to the Fondation Royaumont and Sylvie Brély that Alexei Lubimov and I got to know each other, and the enthusiasm and profundity of the artistic dialogue that has grown up between us since our meeting has confirmed how penetrating their intuition was. While I had always dreamt of combining the magic lantern with the toy pianos and prepared pianos of John Cage, it was Alexei, when I contacted him about an optical concert devoted to Satie, who suggested we should add works by Cage, thus bringing out the filiation between them and the proximity of their respective worlds! We worked together on the content of the musical programme, moving freely from one composer to the other according to a ludic dramaturgy associated with dreams and poetry. The maturity of Alexei, the profundity and intensity of his playing have not diminished his open-mindedness and his childlike curiosity. I believe it is a great stroke of luck for the show to benefit from the contribution of this magnificent personality. The extreme precision of the mechanisms that animate the images of the magic lantern prompted me to seek a partnership with a school of horology and microtechnology at Porrentruy (Switzerland), whose students built the revolving mechanisms. While giving us the benefit of their advanced technical expertise, they can also take advantage here of a unique opportunity to apply their skills in the artistic domain. Finally, it was with the help of the theatre company Les Rémouleurs that I conceived the lantern itself. Olivier de Logivière and Olivier Vallet, specialists in the ‘Great Art of Light and Shadow’ – to use the title of the book in which Athanasius Kircher described the first magic lantern in 1646 – built a tailor-made machine that is perfectly suited to my needs in terms of the distance and diameter of projection, the functionality of the holder, and so on. A very special lantern, dreamt up by the twenty-first century. Hence this project has been enriched by multiple collaborations in both its artistic and technical dimensions! Francis Picabia Réveil matin 1914 Images Moving between painting and volume, figuration and abstraction, our plastic universe will draw its inspiration from the long traversal presented by the show’s musical programme. In the early years of his career, Erik Satie appeared at the cabaret Le Chat Noir, famous for its shadow theatre shows, where he met the Symbolist and Nabi painters. Caran d’Ache, le Cabaret du Chat Noir, 1889 But he very quickly became interested in more explosive forms: the Cubist experiments of his great friend Georges Braque, or those of Pablo Picasso, who designed the decors of the ballet Parade in 1917. Marcel Duchamp and his Rotoreliefs Very close to the Dadaist movement, he associated with Tzara, Man Ray, Picabia, and Marcel Duchamp. It was Duchamp who served as the link between the two composers: after collaborating with Satie on René Clair’s Entr’acte in 1924, he became friendly with John Cage, who wrote Music for Marcel Duchamp for him in 1947. His series of Rotoreliefs, created in 1935, testify to his passion for the optical games and seem to be directly based on the chromatropes made for the magic lantern in the nineteenth century. Duchamp, Rotoreliefs, 1935 Langenheim, Chromatropes 1875 Finally, another brother in images: the sculptor Alexander Calder, who was to design a moving stage construction for Satie’s Socrate in 1936, and for whom John Cage composed Works of Calder in 1950. Calder’s Circus provides a magnificent source of inspiration for our own miniature theatre. Calder, Elephant, 1928 Calder, le Cirque, 1925 Seeking to explore, reinvent, subvert the specific language of pre-cinema and moving shadows, we will have but a single objective, following the example of Satie and Cage: constantly to push back the limits of our visual writing to the point where the two dimensions of the screen are swept away. Through the multiplicity of subjects and narrative and technical devices, mechanisms of sound and light will resonate together to form the spirals of infinite formal reveries. Music ! Musical programme Erik SATIE – John CAGE Four Walls extrait (Cage) Sur une lanterne (Satie) The Seasons extrait (Cage) Sur un vaisseau (Satie) Sports et Divertissements extraits (Satie) Petite ouverture à danser (Satie) Les Pantins Dansent (Satie) Cinéma extrait (Satie) Suite for Toy piano (Cage) A Room (Cage) The Perilous Night 2 (Cage) Music for Marcel Duchamp (Cage) Prélude pour Méditation (Cage) Avant-dernières pensées (3 pièces) (Satie) Four Walls extrait (Cage) Dream (Cage) Four Walls extrait (Cage) The wonderful widow of eighteen springs (Cage) The Perilous Night 4, 5 (Cage) Gnossienne n°5 (Satie) Director, performer, Louise Moaty conception and realisation of the magic lantern In 2013/14 Louise Moaty directed Der Kaiser von Atlantis, a magnificent chamber opera by Viktor Ullmann and Petr Kien written at Theresienstadt in 1943, for the Théâtre de l’Athénée Paris, the Maison de la Musique à Nanterre, the Opéra de Reims, the Opéra de Massy, the Scène Nationale de Niort, the TAP Poitiers and the Théâtre de Saint Quentin (with Arcal and Ars Nova, conductor Philippe Nahon). Fascinated by the links between music and theatre, she also premiered in 2014 This is not a dream, magic lantern for Satie/Cage with the Russian pianist Alexei Lubimov, a dreamlike dialogue between three pianos (concert, prepared, toy) and the images she realised and projects in live performance for a home-made magic lantern, between art craft, science and poetry (Performances including Cité de la Musique Paris, Festival Automne en Normandie, Abbayes of Royaumont and Noirlac, MCA Amiens, Scène Nationale d'Orléans, Théâtre de Caen, Nanterre, Maastricht, Gent, Geneva...). In 2012/13 she directed John Blow’s opera Venus and Adonis for the Théâtre de Caen, the Opéra de Lille, the Grand Théâtre du Luxembourg, MC2 Grenoble, the Opéra Comique, and the Nantes and Angers Operas (with Les Musiciens du Paradis, musical direction Bertrand Cuiller). In 2011 Mille et Une Nuits, her own adaptation of The Thousand and One Nights, which she performed and directed alongside the ensemble La Rêveuse (Scène Nationale de Quimper, Institut du Monde Arabe in Paris, Théâtre de Caen, Abbaye de Royaumont, Jeu de Paume Aix, Eu, Pontoise, Levallois, Sablé), and in 2010 La Lanterne magique de M. Couperin with the harpsichordist Bertrand Cuiller, still on tour with Violaine Cochard (produced by the Théâtre de Cornouaille, with other performances including Opéra Comique Paris, Opéra de Bordeaux, Théâtre de Caen, Théâtre National de Toulouse, La Roque d’Anthéron, Utrecht, Bruges, Stockholm, Brussels). In 2009, she produced, then toured Handel’s Rinaldo (with Collegium 1704, cond. Václav Luks), initially staged at the National Theatre in Prague, with tours to the Théâtre de Caen, the Opéra de Rennes, and the Grand Théâtre du Luxembourg, and revivals at the Opéra Royal de Versailles and the Opéra de Lausanne (heard there with the Orchestre de Chambre de Lausanne, conductor Diego Fasolis). The last performances took place in Prague in June 2014. As an actress, she has performed with Jordi Savall on the programmes Jeanne d’Arc and L’Éloge de la Folie, which she has recorded for Alia Vox. She has also appeared with Clément Postec, Perrine Mornay, Alexandra Rübner, Nicolas Vial. Recently she was Thisbé in Théophile de Viau’s play Les Amours tragiques de Pyrame et Thisbé at the Théâtre de l’Athénée Paris among other venues.
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