Contemprovisations
Polyesthétique d’une improvisation sauvage et domestiquée
L’improvisation est une écriture mobile. Une forme de connaissance directe mue par génération proliférante. Un discours en expansion de notes en voyage chargées de mots poétiques que l’on ne prononce pas. Comme un rêve nouveau, l’improvisation, permet de passer, passer de l’implicite à l’explicite, passer de l’écrit à l’et puis. Libre transmutation révélant un inconscient d’adaptation vers un réel augmenté de montées en conscience d’archives, d’anarchives, fragments de mémoires sensorielles, qui prennent formes - par conséquence - lorsque le mouvement des émotions se stabilise. Alors trans-écrire plutôt que transcrire ? Davantage transimproviser, correspondance épistolaire avec l’immédiat, cet au-de-là de l’ici et maintenant. Après l’exaltation de cette primo-écriture, l’exclamation de ses échos métaphoriques. De la source au fleuve. De l’intention à l’intuition ! Liszt, Chopin, ... ne nous avaient-ils pas déjà interrogés sur ce processus inductif, sur ce mode inversé - biologique, primitif - : j’improvise donc j’écris ! Contemprovisations nous met à l’écoute de l’inspiration initiale et nous invite à appréhender l’organisation architectonique de la plasticité sonore de ses claivoyances instantanées. Je visite les oeuvres, entends du regard l’espace de sons à sculpter, observe leurs plasticités celles de l’intueri qui regardent “l’accord” passé entre le compositeur et lui-même et celles de l’insight qui voient dans le coeur des reliefs, creux et ombres. Trouverai-je le chemin à cette proposition augmentée in fine éternel commencement. Nous pourrions aisément adopter Rilke (Lettres à un jeune poète) à notre projet : " ... cela est plein d'une expérience nouvelle, lorsqu'on retrouve son propre travail dans une écriture étrangère ... "écoutez" ces "notes" comme si elles vous étaient étrangères, et vous sentirez au plus profond de vous combien ce sont les vôtres. " ... ou bien encore "... à partir de ces choses qu'il a modelé, il fait surgir une unité nouvelle ...". Patrick Defossez |
Contemprovisations
Polyaesthetics of improvisation
– of both the untamed and domesticated varieties
Improvisation is writing ‘on the go’. A kind of direct knowledge that rubs off from one teeming generation to the next. A discourse that is constantly widening as it travels, a discourse full of poetry that remains unspoken. Like a new dream, improvisation enables us to cross over, cross over from the implicit to the explicit, cross over from the written to the what comes next. A free metamorphosis brings forth our subconscious desire to develop a truly heightened condition of increased consciousness of archives, of anarchives, fragments of sensory memories that crystallise when the flux of our emotions calms. So, should we be talking about trans-writing rather than transcribing? Actually, transimprovising would be the best term, that which creates a bridge in writing with the immediate, that which goes beyond the here and now. After the exaltation of this proto-writing comes the exclamation of its reverberating metaphors. From the spring to the river. From intention to intuition! Liszt, Chopin... surely they had already placed questions in our minds about this inductive process, this inverted method - organic, primitive - : I improvise, therefore I write! Improvisation, in acoustic real-time, is not an “already someplace else, an abstract future”, rather, it painstakingly marks out the outlines of the time in which a heightened sensorial presence plays out. This is a celebration of the felt, since here, there and inside, we are in a place where everything and nothing come together, become, are made and fall apart, a place where it’s alright to get out the eraser and red pen. Whilst the written œuvre seems solid and rational, improvisation, this deliriously irrational thing, permits fragility, hesitation and u-turns ... lyricism ... of movement, appearance and sound. Improvisation also makes us attentive to coincidence, gives rise to thoughts on the common ground between the existing writing and potential ongoing trains of thought of the kind that the ‘original’ composers could have had. Contemprovisations leads us to listen out for the initial sources of inspiration, inviting us to grasp the architectonic arrangement of the audio versatility of these prophetic moments in time. I come to oeuvres, using the visual to understand and listen to the space wherein sounds are to be moulded, observe their versatility, that of the intueri that witnesses the “pact” agreed between the composer and himself and that of the insight that picks out the crests and contour lines, the valleys and shadows of the heart. To think of oeuvres as unchanging and unchangeable seems unrealistic to me. Everything that has form changes and moves. The evolution of our perceptions changes our view of this immutability. Just imagine if music never changed, if it were only our interpretations that created different and new models of perception? Will I find the way to this higher state of concept that is, in fine, an eternal beginning? We could very well take Rilke’s words (Letters to a young poet) and apply them to our project: "... this is the fullness of the experience of the new, when you see your own work written in a foreign tongue... "listen" to these "notes" as if they were alien to you, and you will feel in your innermost being just how much they belong to you. " ... and "... from these things that he has formed, he created a new unity ...". Patrick Defossez
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