1<\/b>re<\/b>\u00a0pi\u00e8ce<\/b>\u00a0:\u00a0<\/span>Un Paso doble sonore (3<\/span><\/i>e<\/span><\/i>\u00a0<\/span><\/i>\u00e9pisode)<\/span><\/i>\u00a0d\u2019<\/span>Alain Mah\u00e9 (France)<\/b>\u00a0et\u00a0<\/span>Kaye Mortley (Australie)<\/b>\u00a0(15:00)<\/span><\/p>\u00c0 partir de\u00a0la pi\u00e8ce Paso Doble, rencontre\u00a0entre\u00a0le plasticien\u00a0catalan Miquel Barcel\u00f2\u00a0et le danseur \u2013 chor\u00e9graphe de Voivodine,\u00a0Josef Nadj, sur l\u2019argile\u00a0(rouge) et pour laquelle Alain Mah\u00e9 a compos\u00e9 le son, ils proposent de transformer\u00a0des \u00e9l\u00e9ments sonores\u00a0et musicaux\u00a0instables\u00a0(temps r\u00e9el, feedback et mati\u00e8res\u00a0fix\u00e9es) tous li\u00e9s \u00e0 la fabrication d\u2019un spectacle, en \u0153uvre\u00a0sonore. Il s\u2019agira de fixer des gestes et du souffle d\u2019une\u00a0\u00ab peinture sonore \u00bb renvoyant (mais autrement) au propos\u00a0cach\u00e9\u00a0au sein\u00a0de la pi\u00e8ce. Le langage, ou\u00a0plut\u00f4t la voix\u00a0humaine,\u00a0ne serait\u00a0pas forc\u00e9ment\u00a0exclu\u00a0d\u2019une version sonore de\u00a0Paso doble.<\/span><\/p>In lieu of classic radio foley techniques, we will incorporate playback from field recordings found around San Francisco. The chapel bells of the fictional Llareggub may be extracted from San Francisco\u2019s Old St. Mary\u2019s Cathedral. The music from Coronation street may be compiled from street performers of the San Francisco wharf.<\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t