{"id":2158,"date":"2024-07-19T11:50:57","date_gmt":"2024-07-19T09:50:57","guid":{"rendered":"https:\/\/www.rit.fr\/tryptique\/"},"modified":"2024-07-19T11:50:57","modified_gmt":"2024-07-19T09:50:57","slug":"tryptique","status":"publish","type":"post","link":"https:\/\/www.rit.fr\/en\/tryptique\/","title":{"rendered":"Tryptique"},"content":{"rendered":"\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t

Tryptique<\/h1>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t

Share<\/p>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t

On tour
France-Colombia<\/h3>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t

Creation 2017 \u2013 Colombia \u2013 France<\/strong>
Oct.-November 2017 \u2013 Colombia<\/strong>
In 2018 \u2013 France<\/strong><\/p>\n

Co-creation
<\/b>Yi-Ping Yang
James Giroudon
Alexander Morales<\/p>\n

Composition 1
<\/b>James Giroudon & Jean-Fran\u00e7ois Estager
Composition 2
<\/b>James Giroudon & Yi-Ping Yang
Composition 3
<\/b>James Giroudon<\/p>\n

Video Creation
<\/b>Scottie Huang, videaste and architect
Musical Commission <\/b>Grame-Borusan Muzik (Istanbul)
Direction <\/b>Alexander Morales
Scenographer <\/b>Frank Jamin
Interpretation <\/b>Yi-Ping Yang
Stage designer and technology <\/b>Christophe Lebreton
Lighting <\/b>Jean Cyrille Burdet
Costumes <\/b>Laura Garnier
Masks <\/b>Luc Be\u0301<\/span>ril<\/p>\n

Musical production <\/b>Grame, centre national de cre\u0301<\/span>ation musicale-Lyon
RIT-Infinity & platO-PlatEAU<\/p>\n

Duration 55 minutes <\/b><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\tJourney in percussions, electronic and scenic. Tryptique\u2019s image setting is conceived from an evolutionary scenographic structure that enhances and emphasizes the close relationship between body, music and space. The articulation of the sound, plastic and body movements is made by foldable and unfoldable M\u00f6bius tapes, which distinguish the three sound parts and the disturbing atmosphere of the work.\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t

Part 1. Echo of oneself (14\u2019).<\/h3>\n

Music designed in itinerancy, alternating sound paths and percussive stops. Evocation of the withdrawal into oneself, as an experience of burial, as a plunge into<\/span> oneself. The unfolding of this itinerary refers to the couple \u00abfold, unfold\u00bb as Gilles Deleuze defines it in his book \u00abPli\u00bb.<\/p>\n

Part 2. The Full, The Void (13\u2019).<\/h3>\n

This central part is immobile, it develops on the very place where \u00abEcho of oneself\u00bb fades<\/span> away. Gherasim Luca\u2019s texts are taken from The End of the World<\/i> and Other Secrets of the Void and the Full<\/i>. On electronic support, then live, they gradually emerge.<\/p>\n

Part 3. Transparency (17\u2019).<\/h3>\n

The architecture is composed of a virtual wall of sounds and lights, animated by the interpreter\u2019s gesture. It is a vision and listening to the improbable, blurred lines and contours, a poetic of the dis<\/span>order. The electronic music played live reuse some of the sound materials from the first par<\/span>t. Transparency immerses us in a process of slowness.<\/p>\n

The staging<\/h3>\n

The staging seeks to \u201ccorporalize\u201d the sound design composed mainly by James Giroudon, and to make visible the interpreter\u2019s inner and physical evolutions. The \u201corigami\u201d conceptual structure int<\/span>eracts with video, light and body. It delocalizes the raw material of this body-audio-spatial assemblage, allowing spectators to enter a new visual and sensitive experience.<\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Journey in percussions, electronic and scenic. Tryptique\u2019s image setting is conceived from an evolutionary scenographic structure that enhances and emphasizes the close relationship between body, music and space. The articulation of the sound, plastic and body movements is made by foldable and unfoldable M\u00f6bius tapes, which distinguish the three sound parts and the disturbing atmosphere of the work.<\/p>\n","protected":false},"author":1,"featured_media":1302,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[34],"tags":[],"class_list":["post-2158","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-small-scale-projects","entry"],"_links":{"self":[{"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/posts\/2158","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/comments?post=2158"}],"version-history":[{"count":1,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/posts\/2158\/revisions"}],"predecessor-version":[{"id":2159,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/posts\/2158\/revisions\/2159"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/media\/1302"}],"wp:attachment":[{"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/media?parent=2158"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/categories?post=2158"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/tags?post=2158"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}