I met Marie Vauzelle as an actress in Gildas Milin's play MCCM.

In his show, I am an actor on the set with Louise Arcangioli, I mix live the pieces of electronic music that I have composed, I also play the trombone, the keyboard, the bass and the sousaphone.

"Fabrice Melquiot's text poetically questions today's adolescence. At the corner of a street, in the heart of a big indifferent city, Vera lets her sadness, her anger and her desire to live burst out. She is born deaf and fitted with a hearing aid at the age of 2. She is now going through adolescence and its pain in a hearing world to which she addresses a poetic cry against the factory of fixed identities.

Video projections, light effects and a sound device immerse the spectators in a sensory experience. They travel in a mental space, between reality, memories and imagination.
Incarnated by young performers, this dazzling word expresses the torments and hopes of teenagers who would like to be able to live together and remain singular."

The musical creation of Maelström was one of my first. One of the elements that immediately attracted me was the research work on the spectrum of deafness to be carried out upstream of the project. What musical perception can we make possible beyond sound? I started my research on psychoacoustics to try to understand how our ear is formed, adapts and formats itself little by little in contact with the sound universe that has surrounded us since birth, and what this implied in the context equipment. 

However Maelstrom is also a captivating inner thriller with colorful characters. This preliminary research was the basic material for the creation of music that anchors us in the density of moments and makes us travel with Vera and her thoughts. 

Meeting and working in pairs with Josef Amerveil, an incomparable sound designer, greatly influenced my composition methodology and I am inspired today by his precision and delicacy with each new creation. He describes the work done on Maelstrom thus:
"The director's request was to reflect on the one hand the type of listening that Vera could have with the desire to immerse the spectator in this environment and a desire for very cinematic moments.
At first I therefore carried out a fairly substantial series of sound recordings, in an exclusively urban environment, apart from a sequence by the sea to which are added  des interiors (concerning the sequence of hospital or taxi ride) 
Then I recreated from this material an acoustic fabric punctuated by metallic punctums, sound alliterations etc… in short, a series of bursts   which interfere with our usual listening.
Finally I reworked the whole of this first layer   by filtering and essentially sculpting the frequencies perceptible at certain stages of the evolutionary learning of listening in a hearing aid person.
The "veristic" sequences for their part are treated from a cinematographic point of view with work more focused on perspective, movement and space.
This gave a  base which I then deployed with disparate elements   on six points of diffusions to obtain a sound relief effect.
At the same time, I recorded the voice of the actress to build rhythmic pieces and compose musical scansions of consonants and vowels by working on the internal aspect of a "deaf voice", i.e. working on decompression   and the overabundance of breath during vocal emission.
In the same way I have created a palette of tinnitus sounds and feedback which punctuate different tensions on the stage, as well as a large quantity of specific low frequencies which are dedicated to an additional subwoofer in the center of the stage or deploy the waves immediately perceptible by the body of the character.
Finally, there is a work on sinusoidal waves which vibrate the other element of the scenography, a site scaffolding.

My composition is made from sound and "musical" materials that I created (with the exception of a flashing light in the taxi that I had not been able to record)"