"MUSEE EN CHANTIER", le sensuel et l'absurde

Aperghis et Giorno nourrissent la création de Johanne Saunier.En résidence artistique au Théâtre les Tanneurs, la chorégraphe et danseuse Johanne Saunier y livre cette semaine la nouvelle pièce estampillée Joji Inc., la compagnie qu'elle forme avec son compagnon Jim Clayburgh. Celui-ci signe scénographie et lumières de ce "Musée en chantier". Des pans de toile au fond et des sortes de grands cintres mobiles, suspendus, qui se font le support d'accessoires, de micros ainsi que de slogans.Des micros pour la voix qui, au-delà voire en deçà des mots, constitue ici une véritable matière, au même titre que le mouvement. Johanne Saunier est en effet partie des "Récitations" du compositeur Georges Aperghis (né en 1945), des partitions vocales, une langue imaginaire dont s'emparent les quatre interprètes, à savoir la chorégraphe elle-même avec Barbara Mavro Thalassitis, Bert Roman et Ine Claes. Rythme et humour des sons projetés se traduisent dans la danse, qui tantôt les épouse tantôt les contredit. C'est ludique, souvent joyeux, volontiers absurde.Les slogans, eux, immédiatement présents sur de petits panneaux carrés, sont empruntés à l'oeuvre de John Giorno (né en 1936), artiste new-yorkais de la Beat Generation - proche de Warhol, Burroughs, Ginsberg, mais aussi John Cage, Philip Glass ou Laurie Anderson. Des messages pop, minimaux, incisifs et, sinon explicites, évocateurs de réalités politiques ou intimes. "Life is a killer", "It's worse than I thought" et autres "Sugar, alcohol, meat & cigarettes" servent de contrepoint aux "Récitations" dans ce que la chorégraphe définit comme une pièce pour mouvement et voix.

Si la dramaturgie lui fait un peu défaut, "Musée en chantier" n'en est pas moins habitée d'une jolie sensualité décalée, presque froide par instants, teintée d'absurde, et se coulant avec passion dans les méandres de l'art actuel. Marie Baudet Mis en ligne le 27/10/2011 LA LIBRE.BE> CULTURE > ARTICLE

ERASE-E(X)

Les Inrockuptibles Best of 2006

The critics Top 10 (Theater and Dance) ERASE-E(X) One of the best performance of 2006!

A cadavres exquis...an outstanding gem of a dance... 12/12/06 Fabienne Arvers

La Libre Belgique

"Belle réussite...Une création à marquer d'une pierre blanche...un très beau moment"26/04/07 Guy Duplat

Libération

"..La symphonie confine alors à l'hypnose, à l'instar du cinéma lynchien. Et le corps de Johanne Saunier fait trembler le nôtre".(26 juin 2009) Bartholomé Girard

Le VIF Belgique

One from the heart for 2006 best performances. A special bow for the work of the flamish video maker Kurt D'haeseleer in Johanne Saunier's ingenious project Erase-E(X). **Olivier Hespel **

La Marseillaise

"... That was without counting with Johanne Saunier and Charles François : finally in the festival, something to sink your theeth into. A piece to blow your senses and mind. A true powerful punch giver. A sparkling piece, powerfully performed by Johanne Saunier an outstanding dancer and her sidekick Charles François. "july 16, 2005 Francis Cossu

L.A Time

"... this hour long presentation by a Brussels-based company named Joji Inc is a whimsical fable: a story ballet for postmoderns based on an intriguing premise drawn from art history. (...) " read more Lewis Segal

Le Soir

"... The power and the speed of this outstanding solo were flabbergasting... the dancer is literally transformed in a will-o'-wisp...
_march 26, 2005
Jean-Marie Wynants

La Libre Belgique

"... Erase-E(x), pièce-relais lancée par l'idée radieuse de Joji Inc... pour composer une soirée dense, intense... Une virtuosité, une pureté magnifique__"march 25, 2005 Marie Baudet

Danser

"... il s'agit de Johanne Saunier, et de sa pièce Erase-e(x), jamais terminée. Comment cela ? Partant d'une phrase chorégraphique signée De Keersmaeker, elle n'a de cesse de la faire effacer, et réinventer, par chorégraphes successifs, qui en recréent l'atmosphère, mais aussi l'écriture et le sens. Au jeu de la fiction de soi, cette artiste rayonne d'intelligence mordante, de caractère, de trempe, dans un vertige de l'art et de l'interprétation magnifié en la substance du renouvellement. " sept 2005 Gérard Mayen

Libération

"... Plus réjouissant encore, le palimpseste ERASE-E(X) 1,2,3, créé par Joji Inc.... Dans les trois cas elle (Johanne Saunier) rayonne."july 16, 2005 Marie-Christine Vernay

L'humanité

"... c'est à Johanne Saunier, interprète surdouée, qu'il revient d'effacer l'oeuvre."july 22, 2005 Muriel Steinmetz

Le Figaro

"... Ce n'est qu'à 20h que la danse redevient sérieuse avec le développement par Johanne Saunier d'un solo qu'elle avait créé l'année dernière en Avignon. ... la troisième variation (chorégraphiée par Isabella Soupart) est un dialogue avec un comédien exceptionnel, Charles François, dont on ne sait ce qu'admirer le plus : l'autorité et l'humour dans son sketch au téléphone portable et quand il interpelle la danseuse, ou la souplesse quand il esquisse quelques pas de hip-hop. ..."july 16, 2005 René Sirvin

LOLITA

New York Times

Published: April 7, 2009 MONTCLAIR, N.J.
By STEVE SMITH
Published: April 7, 2009

Part of the brilliance of Nabokov's "Lolita," that scandalous, disconcerting novel in which a middle-aged European man of culture takes pedophilic liberties with an adolescent American girl, resides in its manifold layers of ambiguity, its openness to interpretation. Is Humbert Humbert a suave, calculating seducer or a pretentious, delusional monster? Might he also be a relatable victim, not only of his own urges but also those of Dolores Haze, the child with whom he is obsessed?

"Lolita: An Imagined Opera," presented in its American premiere on Friday night as part of Montclair State University's vibrant Peak __Performances series, adopts the monster view. The 70-minute work, composed by **Joshua Fineberg and directed by Jim Clayburgh** of the Belgian theater company Joji Inc., is less an opera in any conventional sense than a multimedia monodrama: the actor François Beukelaers, a Humbert caged within what amounts to a courtroom dock in front of the stage, recounts episodes from the book in chronological sequence. Just as Humbert narrates Nabokov's novel, so does this adaptation focus on Humbert's representation of events. Mr. Beukelaers delivers most of his testimony with his back to the audience, peering into cameras that transfer his visage, with a jaundiced tint, onto a translucent screen above the stage. Bits of his narration, electronically distorted, swirled around the auditorium through loudspeakers, along with fragments of children's songs and, eventually, the computer-rendered voice of Lolita herself. Behind Mr. Beukelaers's projected face, two dancers -- Johanne Saunier, the choreographer, and Julie Verbinnen -- flexed and twitched with a disconcerting mix of prurience and vulnerability. (Their blond wigs and heart-shaped sunglasses sucked Stanley Kubrick's film into the matrix.) On screens to either side, Kurt d'Haeseleer's video footage offered evocative glimpses of what Humbert has perceived in his surroundings: a nymphet floating within a veiny Sargasso entanglement; blurring highway stripes; banal picket-fence suburbs; fluorescent light fixtures. **The complex staging, brilliantly executed, pulled you deep inside Humbert's increasingly manic obsession. Mr. Beukelaers offered a bravura display of confidence, rage and self-pity, his thin leer and high-flown, thickly accented oratory powerfully conveying Humbert's arrogance and condescension.** At times Mr. Beukelaers's vehement bark fused into torrents of incoherent protest. Members of the Argento Chamber Ensemble, seated in a concert configuration on the stage and conducted by Michel Galante, expertly shrieked and shuddered in tones of agitation and enervation while metallic groans and childlike coos encircled the audience. If there is a shortcoming to this "Lolita," it is in the remorselessness of Mr. Fineberg's instrumental writing, seemingly too preoccupied with undercutting Humbert's delusions to suggest sympathy or to illuminate the specifically American dimensions of Nabokov's novel. But to isolate the music is a mistake: this opera amounted to considerably more than the sum of its parts. The production's distancing effects and vortex of simultaneous, contradictory sensations -- Humbert's lurid, oversize face flanked by placid vistas; volatile accusations proclaimed in a computer's inflectionless tones; glimpses of flesh stripped of titillation through uncomfortably frenetic gesticulations -- made for a potent experience of profoundly claustrophobic unease._

La Marseillaise

19 avril 2008

An Evocative Phantasm

Lolita a first name transformed into a phantasm by Vladimir Nabokov's novel, has now been transformed into an "imaginary opera" through the collaborative work of Joshua Fineberg for the music, Jim Clayburgh for the stage direction and Johanne Saunier for the choreography. This work was premiered as the opening performance of the 2008 edition of the "Les Musiques" festival of the GMEM (cf. La Marseillaise from 4/15).

Humbert Humbert, the hero of the novel, accused of murder and of having driven on the wrong side of the road, pleads his defense in front of his jury, in front of the public towards whom, through the auspices of actor François Beukelars, he sometimes turns. The actor gave a superb performance in an English text that he distills, proffers and declaims while Lolita (here 2 dancers) often mark an impression on his face, seen through a screen. It is, in fact through this beautiful video, presented as a triptych, that we follow the face of the actor along with diverse images of nymphettes, woodlands and other roads; the sea sometimes taking the wrinkles of skin, that skin which then cracks like a formation of rock. The images follow the seduction, the suffering, the escape; the text, in turn, cultivates assonances and alliterations, harsh consonants and whispered pleadings.

The total effect is extremely evocative; it is impossible to detach your eyes from the screens, your ears from the voice. However, it is the music, performed here by the Ensemble FA conducted by Dominique My, that is the irreplaceable parameter of the show which, though seemingly secondary, gives life to everything. …..

Gisèle LAVAL

La Provence presse 19 avril 2008

The GMEM and Raphaël De Vivo their director seem poised to win their bet. Their proposal of placing a single ticket price of 5 Euros for all the shows and concerts in their festival Les Musiques seems to bring in the crowds. Thursday night, for the opening event, La Cartonnerie de La Frich de Belle-deMai was packed, as it will no doubt be tonight for Mathilde Monnier. The public was not only numerous, but varied. The Contemporary Music regulars were there, of course, but there were also many younger people pushed by simple curiosity or the pleasure of discovery.

Friday night [sic] Lolita, was on the Marquee satisfied every taste, filling the eyes and the ears. This "Imaginary Opera" of Joshua Fineberg deployed an impressive team: the musicians of the Ensemble Fa (strings, flutes, clarinet, bass and piano) electroacoustic sounds and computer, projection of pre-recorded and live video, an actor (the extraordinary François Beukelaers) and three dancers. The music lays out a mental landscape, a bit in the way of Angelo Badalamenti's compositions for the films of David Lynch. Along with the live images, it allows us to enter into the mind and the fantasies of Humbert Humbert, the "hero" of the novel by Vladimir Nabokov. This can sometimes be disturbing and hence successful.

Jacques Corot

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