Entre-vistas

2008-02-08T12:04:00.000-08:00

Conceptos/criterios sobre este apartado:

Entre el ojo y la palabra

Modo en que un texto se mueve reproduciendo
dimensiones análogas a su comprensión.

1-Idea

(Pretensiones globo.terráqueas)

La idea del trabajo con entre-vistas es indagar la realidad/ficción del /objeto/sujeto desde un abordaje “zoom-circunfe-rotacion-angular”. Esta última denominación refiere a un análisis del objeto/sujeto a modo de zoom (cerca-lejos); circunferencial, desde todos (o algunos) de sus rincones.ángulos; y rotativo es decir desde un abordaje alterno, intermitente, variable y móvil.Así que se introducirán cuestiones (indagaciones/preguntas) desde uno o más de los abordajes mencionados.

2-Objetivo

El objetivo es acercase/alejarse del objeto/sujeto en cuestión e intervenirlo con provocaciones (juegos) que instarán al diálogo, no ya desde un planteamiento pregunta/respuesta, sino desde pregunta/pregunta; respuestas/respuestas, objetando (o no) las preguntas y/o respuestas.

3-Abordaje

(¿cómo?)

Una vez focalizados los temas de las entre-vistas se desarrollarán una serie de intervenciones que se darán a conocer a los participantes del juego de L.C. Esto reflejará una intervención conjunta que permite una no única mirada/foco/arbitraje/ por parte del entrevistador.

4-Temas

Los temas referidos al apartado son: Contorsionismo; movimiento; espacio; nomadismo; equilibrio; sedentarismo, entre otros por venir.

INTERVIEWS

To a trapeze artist or contortionist that works for the Cirque du Soleil

To Claudel Doucet (1) -Tissu artist

L.C.: Could you define your art as a movement that rests in the speed of the blue balls?

Claudel Doucet: My art is movement. Up.

And there's some speed involve. Slow moments, suspensions, breaks, fractures, and fast ones, the fall, the choreography. The slow preparation of warming up. The heart beats that gets faster by the end of your act. The five seconds of silence before the music starts where you get focus. The schedule of the trainings. It’s time. It’s speed.
As of blue balls, I use one for warming up.

L.C.: What do you do in your spare time?

Claudel Doucet: Humm. Spare time. Not much of it. We work 6 days a week. A lot of the spare time I have is between cues on stage or rehearsals. So I train. Or I pretend to train. Or I dance. Or I run around making funny faces.
On days off, I like to go to the aquarium. Or have a milkshake. We live on tour. Wich mean we make our daily life in a constant discovering experience. I am curious so I love it.

L.C.: Could you make a movement to show us how you can tell the difference between a blue ball and a red ball when you are blindfolded?

Claudel Doucet: No. Could you?

L.C.: It is said that between a juggler and a trapeze person there may be a great complicity or a deep antipathy. What’s your experience?

Claudel Doucet: This is an interesting question. In circus, people choose a specialty. And this choice very often reflects their personality I think. The people that choose to juggle are not the same one that chooses to do teeterboard. Some disciplines are incredibly dangerous; others required lots of stretching, or a lot of strength. Jugglers are patient people. Dropping a thousands times and still picking up the balls on the floor. It’s more mental strength than muscles. They're mathematicians. Aerial artists like to look good. They want to fly, feel light and look gracious. But they also face greater danger. Their body is the centre of interest. We are divas. Our works are so different; one can easily thinks the other one doesn't work as hard, as much, or in the same sort of risks. But we can also admire that we could never do what our colleagues do.

L.C.: How or where from do you contact other trapeze person?

Claudel Doucet: Google: trapeze
Try it...

L.C.: Do you know Jesus Betz’s story? (with his loved Suma Katra?)

Claudel Doucet: No. Sadly I don't. I deeply wish I did...

L.C.: Choose one of the pictures show below: (say why!)

Claudel Doucet: I can't help but choosing the right one.
I use to train contortion. But never to the level can these girls reach. These are Mongolians artists. My coach use to perform this exact act.
In Mongolia, contortion is a traditional form of art. After having had their culture repressed a lot by various invasions, they really value and love their traditional rites and especially their contortionists. I once heard a friend telling me about how, in Mongolia, when people starts to party and enjoy itself, a girl would go up the bar and start doing contortion and everybody would sing along. I love this story so much. Picture it.

L.C.: Tell us the story of the trapeze man that asked for a second trapeze and even a third one, in the middle of the performance without having rehearsed before.

Claudel Doucet: He is a friend of mine.

L.C.: Living in a circus is like living with a big moving family. Could we say that circus life is also living in a permanent movement, in that movements are routine too? How do you avoid being routinely? (Falling into the routine?) Or, paradoxically, do you like routine? (Nomadism as a way of life?)

Claudel Doucet: This is not a question for a short answer, you could write a book about it.
I did more than 900 times my act in the last 3 years. That’s for the routine. The music of my act played 900 times, I ear the public gasp at the same move 900 times. I tripped at the same place probably 700 times. I did my act more often than I brushed my teeth...
And I hate routine. For me, boredom is by far the hardest challenge of my job. It makes you become lazy and depressed. But it’s a challenge, so you have to face it and fight it, you have to force yourself to stay alive, to keep your imagination working, to keep surprising yourself and the people around you.
But that’s only the job. Being on tour with a circus is not only a job, it's a lifestyle.
It’s your friends and family. Your younger sister might only speak Chinese and they don't watch TV at night, they share your stage. Your American uncle builds the Big Top, your Spanish cousins make costumes, and your Russian brother is also your porter while your Italian stepmother is filling your Working Permit application form. Its might sounds exotic but after a few years it really is routine. Its friendship and love and fights, just like any other family.
We call hotels: "Home" and the Big Top "Office".
But I also travelled from Iceland to Japan, stopping for holiday in Czech Republic and Thailand, having a beer in New York with friends before going back to Berlin for work. I met amazing people and I discovered great countries and cultures. I do circus because I love travelling.
We are everywhere on the globe but also cut from a lot of our roots. We live on a floating island where you can forget about the world around, run away from your past while filling your mouths with all sort of exotic.
It fits me.

L.C.: Do you believe that moving, relocate, travelling, what is “soft” or “flexible” as an experience / transformation are evidenced in the thinking?

Claudel Doucet: I am sorry; I just don't understand the question.

L.C.: Do you want to ask any questions?

Claudel Doucet: ( ..... )

L.C.: Thanks you

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ENTRE-VISTA

(Traducción al castellano: próximamente)

A Claudel Doucet trapecista y contorsionista del Cirque du Soleil

L.C.:¿Podría definir su arte como un movimiento que reposa en la velocidad de las pelotas azules?

L.C.:¿qué hace ud. en horas de descanso?
L.C.:Podría hacer un movimiento para enseñarnos ¿cómo se diferencia una pelota azul de una roja cuando se tienen los ojos vendados?
Se dice que entre el malabarista y el trapecista puede haber una gran complicidad o una profunda antipatía. ¿Cuál es su experiencia?

L.C.:¿Cómo o desde dónde se vincula con otros trapecistas? ¿conoce la historia de Jesús Betz?
Elija una de las dos fotos que se presentan a continuación:

L.C.:Cuéntenos la historia del trapecista que pidió un segundo trapecio y hasta un tercero, en medio del número sin haber ensayado antes.

L.C.:Vivir en el circo es como vivir con una gran familia móvil. ¿Podríamos decir que la vida de circo también es vivir en un permanente movimiento? ¿Es ese movimiento rutinario?, ¿cómo evita ud. caer en la rutina? O, paradójicamente ¿le gusta lo rutinario? (¿el nomadismo como modo de vida?)

L.C.:¿Cree que el moverse, el trasladarse, el viajar, lo blando, lo flexible como experiencia/transformación, se evidencia en el pensamiento?

L.C.:¿Quiere usted hacer alguna pregunta?

L.C.:Gracias

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(1) Claudel Doucet (Montreal, Canadá) se introdujo a las artes escénicas a una edad muy temprana. Comenzó su formación como artista de circo a los nueve años, completó su formación y obtuvo su título universitario en Artes del Circo en el año 2004.Claudel se especializa en el trabajo aéreo en la seda y también practica contorsión. A lo largo de sus años de aprendizaje y de las obras, desarrolló su creatividad y presencia escénica, en especial al trabajar con diferentes directores y coreógrafos en numerosos proyectos creativos.Claudel ha desarrollado -en el aire- un particular estilo artístico.La combinación de la extrema flexibilidad con impresionantes figuras y dinámicos movimientos aéreos le da un toque especial al número que realiza. Como artista de circo moderno, desarrolló particular afinidad con la creación original de los actos, de jugar con la interminable gama de sentimientos humanos que inspiran su baile. (http://www.pendulumdancetheatre.org/)
Claudel se encuentra actualmente de gira con el Cirque Du Soliel (espectáculo Dralion) y realizó para L.C. esta entrevista hecha en Japón bajo la mediación de Marcel Bofill (colaborador de L.C.)

Muchas gracias Claudel y Marcel.

entrevistas

Entre-vistas