“l’Air(e)” is a written show that is nourished by a part of improvisation and performance,
For 3 percussionists and electronics, 1 lighting director
The alert sounds: Three individuals find themselves cornered, locked in a six by four meter enclosure. How to escape from this reality?
They then summon Jacques Rebotier’s instrumental theater, giving them words to bite and ideas to grind. From the slide of sounds and meaning, Francesco Filidei and Thierry De Mey will remind them that rhythm is lived in the body, through movement. Other accomplices such as Pierre Jodlowski, James Tenney and Steve Reich will bring their musical remedies so that our three heroes can change Air(e) to better dance life in a timeless show.
- ATTENTION Confinement, extrait de 22, Placards!, de Jacques Rebotier, éditions Ecri (peind)re AENCRAGE and CO, 2’30 ;
- C’est épouvantable – brève n°2, Jacques Rebotier, 10’’ ;
- Bonneteau – brève n°41, Jacques Rebotier, 2’;
- Musique de tables, Thierry de Mey, 6’;
- avis D’EXPIR, extrait de 22, Placards!, de Jacques Rebotier, éditions Ecri (peind)re AENCRAGE and CO, 4’;
- Qu’est-ce que l’air – brève n°26 , Jacques Rebotier, 1’30 ;
- avis D’EXPIR (suite et fin)
- L’oeil du dieu – brève n°84, Jacques Rebotier, 1’;
- Le dieu dans ma poche – brève n°96, Jacques Rebotier, 1 ;
- Having never written a note for percussion, James Tenney, 5’;
- Pad phase, Pattern 1, d’après Piano Phase de Steve Reich, 6’ ;
- La mort-naissance – brève n°55, Jacques Rebotier, 2’ ;
- I funerali dell’anarchico Serantini, Francesco Filidei, 8’;
- Pad phase, Pattern 2, Steve Reich, 5′ ;
- 24 Loops, Pierre Jodlowski, 8’ ;
- Pad phase, Pattern 3, Steve Reich, 5’.
The No Bad Vibes Trio
In 2016, François Papirer, Rémi Schwartz and Enrico Pedicone are developing a contemporary music program for young audiences, presenting the diversity of percussion instruments around the world. The show evolves in 2018; a new identity is built within the Percussions de Strasbourg: the trio No Bad Vibes is born. Today, their show l’Air(e), is a proteïform object where a spirit (or universe) of rock, the requirement of contemporary music, the power of electro, and the dadaism of an instrumental theater mixes.
l funerali dell anarchico Serantini, Francesco Filidei, 2005, 14′.
The work pays homage to one of the victims of the police repression of the leaden years, who died in May 1972 in Italy. The musicians observe the audience; the trial begins. Without any instrument other than their own bodies, they let their masks and hands be heard … Il Funerali dell’Anarchico Serantini shows us with a situation in which a series of gestures is imposed on the production of sounds at the limit of the audible.
Musique de Table, Thierry de Mey, 1987, 7′
A piece for three percussionists with tables for only one instrument. Hand positions and movement “figures” are codified in a repertoire of symbols. The flicks, caresses, rubbed, tapped … are amplified, giving them a real emotional presence. At the meeting point between music and dance, the gesture is as important as the sound produced.
Having never written a note for percussion, James Tenney, 2004, env 5’
Simple but colossal! This is the most famous piece by this American composer, requiring his performer to play it consistently from its quietest to its strongest point, and vice versa. A fascinating exploration of sound, volume, and a demonstration of the hypnotic power of musical drones.
24 Loops, Pierre Jodlowski, 2007, 10’
This work uses the principle of cumulative writing, which consists in using electronic resources to stack sequences played live; what is played by the musicians is, progressively, frozen in time by a looping system. The music thus created is the result of the stacking of successive elements.
Pad phase, Steve Reich, 1967, 15’
Freely adapted from “Marimba Phase”, it is a rejuvenation that this piece undergoes thanks to the infinite possibilities of electronics. All the musical ingredients are gathered to make this piece a hit of the 21st century: a sustained rhythm, a repetitive melodic line of a few notes, a phasing that momentarily loses the notion of tempo, a sound diffusion that increases the perception of space, all of this embellished with a mix worthy of the best trendy clubs on the planet…
Jacques Rebotier belongs to the crazy family of dislocators of words, sounds and brains. Poet, composer, director, he plays with points of view and registers in a work that crunches, with full teeth, a civilization that is not going well.
Poet : Rebotier is the author of about fifteen books, a performer, he is regularly invited to tell his texts.
Director: His performances, both disturbing and joyful, combine a demanding writing style with an unusual, or rather “incongruous” spirit, which refuses to mix. In 1992, he founded the company voQue : music ensemble and verbal company at the origin of many creations.
Composer : Rebotier writes free, expressive music, often linked to the text, or tending towards instrumental theater. Playing with language, forms, shifts in sound and meaning, Rebotier’s work deals precisely with all aspects of phrasing and articulation, intonation, accentuation, rhythm, flow.