ON THE PIECE:

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This show is a celebration, a sacred ritual, an ode to life. Between texts, sound creation, music and dance, the performers on stage jostle us, question us, move us.
 
"Being in the World" raises the question of Being, of what makes us vibrate, brings us joy, what it is to be entirely there, in the present moment, but also what conditions us, restricted and which prevents us from being fully ourselves; these limits which we try, when their weight has become too heavy, to get rid of with fervor.
A questioning that begins with a plunge into a sound and olfactory journey, then which glides over moments of life and authenticity, of confrontations between what we are, or try to be, and the world around us, through poetic universes, struggles and humanities of each of the performers.

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ON THE MUSIC:

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The challenge of the music of Being in the World stems from the hybrid and multiple nature of this creation. It brings together three performers: dancers, singers and actresses. The sound creation was done in three different ways.

First, a large amount of concrete sounds were recorded by our team to constitute what we called an Om, in reference to the Tibetan chant intended to increase our mental and emotional vibration. These sounds had to express the moments when we felt united, present, in joy, peace, serenity. From this rich material we worked on a spatialized arrangement dedicated to immersing the spectators, during the first minutes of the show, in an immersive and sensitive rustle of life.

The second way of creating sound for this show is live interaction with the stage. Having placed microphones in the performance space, I capture the sounds of bodies, voices, footsteps, friction, objects. These sounds are then processed live and respatialized elsewhere in the theater. These can be sung moments, allowing a performer, for example, to create a unique improvisation made up of multiple layers and treatments of her direct voice. It also happens that my own voice enters this sound space in the form of very low layers for example.

Finally, we wanted soaring moments with a great richness of evocation. The composition of original music was made by successive back and forth with the set.   These pieces allow us to move the place of the action in order to place it in a universal, vibrant reality, of the order of interiority or the spiritual, compared to more realistic sequences .