{"id":2248,"date":"2024-07-19T14:33:46","date_gmt":"2024-07-19T12:33:46","guid":{"rendered":"https:\/\/www.rit.fr\/hiatus\/"},"modified":"2024-08-12T15:01:53","modified_gmt":"2024-08-12T13:01:53","slug":"hiatus","status":"publish","type":"post","link":"https:\/\/www.rit.fr\/en\/hiatus\/","title":{"rendered":"Hiatus"},"content":{"rendered":"\t\t
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Hiatus<\/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
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Share<\/p>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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On tour<\/h3>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Musical fantasy, Percussions and theatre<\/b><\/p>\n

Musicians
<\/b>Yi-Ping Yang
Emmanuel Scarpa<\/p>\n

Comedians
<\/b>Christian Scelles,
Patricia Thevenet,
Anne-Laure Sanchez<\/p>\n

Music pieces
<\/b>S\u00e9bastian Rivas, Lin-Ni Liao
James Giroudon & J.-F. Estager
Y.-P. Yang et E. Scarpa<\/p>\n

Stage director <\/b>Julio Guerreiro
Dramaturgy <\/b>Anne-Laure Sanchez
Lighting <\/b>Eric Marynower, Richard Gratas
Costumes <\/b>Laure Garnier<\/p>\n

Production
<\/b>RIT INFINITY ass.<\/p>\n

Partners
<\/b>RIT INFINITY – GRAME
Th\u00e9\u00e2tre des C\u00e9lestins<\/p>\n

Duration 60 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

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\n\t\t\t\t\t\t\tMusical fantasy. A mathematical chance, two universes, three creations, four characters, various situations around the language inspired by Samuel Beckett, with an encounter without appointment, reflection without words, filled with crossed glances, a sort of game of destiny… A \u00abstaged\u00bb concert with two percussionists assisted by two actors in charge of bringing us closer to the work of composition, closer to the instrumentalists, with a succession of situations that are sometimes absurd and slowly evolving towards a \u00abbeckettian\u00bb chaos.\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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At the beginning of this project, there is the desire from Yi-Ping Yang to get inspiration from Beckett\u2019s Quad<\/i>, video piece without words of 10mn that Beckett had made himself with 4 dancers and several percussionists. The percussion composition remained free.<\/p>\n

Quad<\/i> is the intersection of a musical piece and a scenic situation with the main theme of escape from a confined space.<\/p>\n

The project <\/span><\/h3>\n

A percussionist in the midst of a crisis of confidence is confronted in a working session with a very promising jazz drummer and the director of a concert hall assisted by her artistic director. This is the starting point of a situation that will continue to degenerate towards an almost surrealist chaos. The scene will visibly take the path of a certain chaos – hoardings and traces – disorganization, decomposition, recomposition. Metaphor of a world traversed in its entirety by the Japanese catastrophe of Fukushima.<\/p>\n

Everything is legible, understandable. No need for explanations. With words that are recognizable but not easily accessible, or incomplete; just like on the street, where you don\u2019t hear what people say but you can guess many situations. The whole, with a certain smiling complicity between the actors and the audience, a scenic atmosphere that could be reminiscent of that of Pina Baush or Jan Lauwers.<\/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":"

Musical fantasy. A mathematical chance, two universes, three creations, four characters, various situations around the language inspired by Samuel Beckett, with an encounter without appointment, reflection without words, filled with crossed glances, a sort of game of destiny… A \u00abstaged\u00bb concert with two percussionists assisted by two actors in charge of bringing us closer to the work of composition, closer to the instrumentalists, with a succession of situations that are sometimes absurd and slowly evolving towards a \u00abbeckettian\u00bb chaos.<\/p>\n","protected":false},"author":1,"featured_media":2505,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35],"tags":[],"class_list":["post-2248","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-collective-pieces","entry"],"_links":{"self":[{"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/posts\/2248","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=2248"}],"version-history":[{"count":2,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/posts\/2248\/revisions"}],"predecessor-version":[{"id":2509,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/posts\/2248\/revisions\/2509"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/media\/2505"}],"wp:attachment":[{"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/media?parent=2248"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/categories?post=2248"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rit.fr\/en\/wp-json\/wp\/v2\/tags?post=2248"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}