Thursday, December 27, 2007

Spray Or Roll On Boat Liners

Full of dreams ... by Jules Supervielle


Full of thinking my body, over a lantern lit
In my arms, my feet above my head .
As a lake which reflects a mountain to its peak
I feel the depth where the altitude is bathed
And am awed by the stars of heaven.

Jules Supervielle

Friday, July 6, 2007

Exp No Pokemon Deluge

An article on Jules Mathieu Hilfiger Supervielle


The poetry magazine The Ghost Ship publishes its latest issue: "Children." It includes an excellent article by Mathieu Hilfiger: The child of the high seas Jules Supervielle: or the limbo of memory loss.

Monday, June 25, 2007

Why Does My Throat Hurn More At Night

The Difficult Journey (from "The Convict Innocent")


A Christian Sénéchal

On the road a cart in the cart
a child
Who does head down
Under surprising jolts.

Violence road
Hunting hitch off
Hence the earth is only
ball in the big sky uncertain.

Do not speak: here
That slaughters the sun.
Twelve butchers are online, such
Twelve cutlass.

Here is the moon bleeds
To give him his pallor,
It works on the anvil
From thunder and horror.

"Child
hide your face because you run great risks.
- Do not you see, stranger,
What I have a good team. "
Boys
other planets
Remember that child
which we have no news since
already very long. In what


fern sleeping where an insect
Your soul looking for his first color?

was through some time of eclipse,
Cast Away a thrill, a sad smile.

Occasionally a doe
Between the foliage was coming to see, then

away under the supervision of a dream
Who covered with grasses, brambles,

and always ready to return .


The sun whispers
A snow and urges
to die without suffering
Even as the cloud.

What is this other voice
Who speaks to me and promise?
Even in the dead of winter
Is it the heat
Who Turns the Earth
Always the same heart,

And to reassure me, in all seasons

Leans to my ear and whisper
my name?


In the forest are cut down without hours
a large tree. A vertical blanking

Aspen barrel-shaped trunk
Nearly extended.

Look, look, birds,
Place your nest
In this high memory
long as he whispers again.

Thursday, May 31, 2007

Pokemon Fire Red Rom Mac

Around Supervielle Jules ...

Axel Maugey, author of an essay The elites of Argentina and France (Paris, Editions de l'Harmattan, 2004) presents Jules Supervielle . I suggest you listen to the show:

Size Difference Magnum

When the brain lies in his cave ... Jules

Sunday, May 20, 2007

Buy Sibutramina Clorhidrato Calox

THE RELEASE OF SILENCE (created 2007-2009)



unusual career. PATH ...
The show rests Dispersion occurs at night, in a natural setting. Ie both in a public garden, a place that campaign. In this garden, the audience and invited to a night wandering, solitary, free, and without a guide, if not his own feet to indicate the direction to follow. Based facilities, moving objects, images, light, shadow or projected images, it leaves its susceptibility to wear it, will have the opportunity to stop and retrace his steps, sit , to listen, to follow his steps back, not that lead to a point in its journey to encounter the living space of an actor, carrying the story of a road injury, setter / a storyteller unique history. Viewers will be invited to hear this story. Among the three, six or nine portraits stories. Each actor, person, character, supports about thirty spectators to whom it delivers its urgency to tell, testify, to speak. The actors embody the text, words. They are each alone in a given space. Every place is installed, lived in relation to the narrative that sest fact, the personality of the "witness". The actor and foremost a smuggler. A passer in history. It implies, embodies the words of his mouth so that their bodies, they resonate with each audience. For one never forgets. And maybe we will recognize in this story ... And then the story ends, for what should be said has been, and after verbalization, the words following their path, where they fell. And in turn, the viewer is invited to resume his march. Maybe it does go listen to another person ... maybe not. Thus, each pathway to each viewer is singular. And when all is finished, everyone revives the thread of his story and wonders why he is suddenly the urge to lie down under a summer sky, trying to find the cloud in the face of the child he was and he remembers being suddenly still. He thinks. Just that.





The show is being created today has benefited from three residences:
September 2006: the FAI AR, Cite des Arts de la Rue, Marseille (13) .
May 2007: at Theatre Gerard Philippe, regulated theater, Frouard (54)
September 2007: to Lézarap'Art, Cite des Arts de la Rue, Marseille (13).



The different stages of development were presented in September 2006 at the Garden of maternté the wasteland of the beautiful May (13) in May 2007 to Frouard TGP (54) Lézarap'Art in October 2007 (13), and 6 and 7 October 2007 Gadroons the garden city of Nancy. A new presentation is scheduled for November 24 at the Cultural Centre Andre Malraux, a national festival in the "head ailleus.


TEAM 2007
writing and staging: Estelle CHARLES
staging / construction: Fred Parison
designer Thierry Simounet
participation Landscape: Raphael Caillens
participation plastic Cecile CUNY
actor: Barnaby Perrotey
Amanda Ubierna DIAZ
Sibel KILERCIYAN
dancer Marie CAMBOIS




project supported by the FAI AR (advanced training and touring arts Street), Theatre Gerard Philippe Frouard, ARIAS, Lézarap'Art Marseille, France Chechnya Solidarity Association, Drac Lorraine Lorran Region, General Council 54, City of Nancy

Tuesday, May 8, 2007

Reinstalling Wlan On Dell

Supervielle

Here are two excerpts from the program devoted to Jules Supervielle
See more details on France Culture
" Jules Supervielle and exile "




" Suffering from Supervielle "



Saturday, May 5, 2007

Fell On My Elbow Swollen

Symposium on France Culture 1 and 2 February 2008




The association "Friends of Jules Supervielle" and the mayor of Sainte Marie Oloron organizes early February 2008 a symposium on the theme: " Supervielle in the world today. What are ways of being his poetry invites us to? "
You're invited and I am delighted that the group of friends around the poet can grow and flourish in the spirit of the work Supervielle ...

1979 Holiday Rambler Imperial 5000

Association "Friends of Jules Supervielle"

To join the association, just send 15 euros Clairefond Helen, our new president, at the following address (the seat has changed): Ms. Hélène
Clairefond
School St. Cricq
OLORON-64400 SAINTE-MARIE

Food Poisoning And Gas

The text of the poem: "Holy Oloron Mary "


As time my father listening to the Pyrenees
doors And I'm feeling rough, guarded by their cohorts.
Gave The flowing, lower eyelids, not wanting
difference between men and shadows,
And he spends between stones
Who does not fear But centuries
rely on it to dream.

The city of my father, I have business everywhere.
I prowl the streets and installs floors anywhere
These stories make me like a mountain path, I enter without knocking
in rooms that crosses the country,
Mirrors remake the woods, rescued streams,
I find myself caught and taken through their waters.
I wander on the roofs of slate, I'm going to the top of the tower,
And to gather the dead that scares rumor, I'm flying
human
That shows no noise from the bell
of the night In the sky
Pyrenees. O

dead to approach stealthily
What we always confuse with immobility,
Lost in your smile in the rain as the epitaph
Dead postural constraints and hampered by too much space,
O you who just roam around our positions
is we who are the lame ready to fall on the forehead. You are healed

blood
As we blood thirsty.

You are healed to see
The sea, sky and the woods.

You're done with their lips, their reasons and kisses
With our hands that we are following us everywhere without appease
With hair and nails grow that break,
And behind the front drive, our mind moves.

But nothing is more true we
Whether it cold like you, We are separated

That the thrill of an earthquake.

Do not turn your back to me. Guess you
One of your race living near your old knees?

Friends, fear not as
That pulls you through a floating piece of your costume!

Have you not a little envy,
Dear kids of death, that you accept your life?

We'll tell you again how
shade and sun,
In a moment that is dormant
make and break a birch.

And we'll rebuild
Each city with its breathable arch bridges,
campaign with the wind, the sun
And among his brothers rising.

Are you sure, are you sure you have nothing to add,
That is still on this side the same day, the same summer? Oh how
appease my bones in their misery,
Troupe pale, blind, his face chalky,
Who calls the death of her head with blue eyes
Looking outwards.

I hear that fill me with their voice.
Planted in my flesh, these bones
As secrets knives
Who never saw the day:

- can not escape and to our understanding.
Your silence is lying to us.
We are one with you,
Do not forget us. We

related party
Such husband and married
When he blows out the candle
For the length of the night.

- Small bones, big bones, cartilage,
It is more cruel cages.
Wait, violent lightning storm ended
In my flesh.

Thorax, without ulterior motive
let air enter the crossing.
Do you understand that the sun
Go to you from the bottom of the sky?

Listen, dark humerus
The darkness of flesh is soft.
Do not think the flute still
A smooth dead.

And you, rosary of bone, spine, no hand
What n'égrènera,
Retards our time enemy
Pray for the stream of life
Who hurries to our eyeballs.
Excerpt from Forçat innocent

Swallowed Small Amount Of Mouth Wash

Oloron Sainte Marie


Sunday, April 29, 2007

First Aid Current Event Article



Jules Supervielle: a poetics of transparency
by MARGARET MICHELE COOK
study end of the next site.

President Lincoln Radio

An article to read How to" understand "a poem

"For me it is only by dint of simplicity and transparency that I manage to deal with my secret key and settle my profound poetry. Tender that the supernatural becomes natural and logical consequence (or have the air). Making the ineffable become familiar to us while keeping its roots fabulous. [...] I have never known the fear of banality that haunts most writers but rather that of misunderstanding and singularity. Not writing for specialists in the mystery I always suffered when a susceptible person does not understand one of my poems. "
Supervielle Jules," Thinking of a poetic art "in births.

Friday, April 6, 2007

Hair Extensions Brown With Blonde Highlights

Modernity Modernity

3) In terms of metaphysical knowledge, finally:

Supervielle True modernity is, I think he, at the crossroads of science and spirituality, where the prevailing query and a certain quality of silence - such as non-dogmatic philosophy like Buddhism can offer. Evidenced by these excerpts from the fascinating dialogue between the Buddhist monk Matthieu Ricard and astrophysicist Trinh Xuan Thuan, The Infinity in the palm of the hand - From the Big Bang to the awakening, Nil / Fayard, Paris, 2000:

MATTHEW: (...) we must first return to the concept of "relative truth". According to Buddhism, the way we perceive the world as being composed of distinct phenomena from isolated causes and conditions is called "relative truth" or "misleading truth." The daily experience leads us to believe that things have a reality independent objective, as if they existed on their own and had an intrinsic identity. But this mode of apprehension of phenomena is a simple construction of our mind. Even if this vision of reality is confirmed by common sense, it does not withstand analysis. Buddhism instead adopts the notion that things - would better say the phenomena - exist only in relationship with others, the idea of reciprocal causation. An event can occur only in the relationship and dependencies on other events. Buddhism sees the world as a vast flow of events connected to each other and all participating together. Our mode of apprehension of this flow crystallizes some aspects of the whole in a purely illusory and makes us believe that it is autonomous entities which we are entirely separate. In one of his sermons, the Buddha described reality as a network of pearls: each of pearls, all others are reflected, and the palace which they decorate the facade and the entire universe. This means that each element of reality, all others are present. This image illustrates the concept of interdependence that it can exist anywhere in the universe a single entity separate from the whole.
T. - The concept of "flow events" joined the vision of modern cosmology: the smallest atom to the universe, through the galaxies, stars and men, everything moves and changes, nothing stays the same . Mr.
- Not only are things moving, but we perceive them as "things" because we look at the phenomena from a certain angle. It should therefore be careful to attribute the world properties that are only appearances. The phenomena are simple events that occur in the circumstances. Buddhism does not deny the conventional truth, that the ordinary man sees or detects that the learned. He does not challenge the laws of cause and effect, nor the laws of physics or mathematics. It simply says that if you go to the bottom of things, there is a difference between how the world appears to us, its ultimate nature, which is devoid of intrinsic existence.
T. - How the ultimate nature of things does it relate to interdependence?
M. - The word interdependence is a translation of the Sanskrit word pratitya samutpada meaning "to be by co-emergence" and can interpreted in two complementary ways. The first is "This arises because it is" what means that things exist in a certain way but that nothing exists in itself. The second is' this, having been produced, this product, "meaning that nothing can be its own cause. In other words, everything is in one way or another, interdependent with the world. One thing that can arise because it is connected, conditioned and conditioning, co-hosts and co-operative, and in continuous transformation. Interdependence is intimately linked to the impermanence of phenomena and provides a model transformation that does not involve intervention by a host entity. The interdependence also explains that the Buddhism refers to the emptiness of phenomena, an emptiness that means no "reality" intrinsic. (...) Ironically, although the idea of interdependence undermines the notion of autonomous reality is that it also allows the manifestation of phenomena. Consider the notion of an entity that exists independently of all others. Immutable and autonomous entity could not act on anything and nothing could influence it. Interdependence is needed to elucidate the phenomena.
refutes this argument as well the concept of autonomous particles that would build material, as a creative entity that has no other cause than itself. Moreover, this interdependence naturally includes consciousness: an object depends on a subject to be applicable. Schrödinger had noticed this problem when he wrote: "Without being aware, we exclude the subject of knowledge in the field of nature as we begin to understand. Causing the person we're with us, a step backwards for the role of a spectator outside world, which thus becomes an objective world. "
interdependence is still that of relations between parts and whole: the parties involved in the everything and everything is present in the parts.
Finally, the most subtle of interdependence is the interdependence between the "designation based" and "designation" of a phenomenon. The location, shape, size, color or other characteristic of an apparent phenomenon are only bases for designation as a whole is not an "entity" or an autonomous object. This designation is a construct that assigns a reality in the phenomenon itself. In our everyday experience, when an object is presented to us, this is not its nominal existence appears to us, but its existence in itself. But when analyzing this "object" stemming from multiple causes and conditions, we are unable to isolate an autonomous identity. We can not say that the phenomenon does not exist, since we are experiencing, but we can not say either that it is a reality in itself. The conclusion is that the object exists (it does not fall into a nihilistic view of things), but its mode of existence is purely nominal, conventional (thus avoiding the other extreme, that of autonomous entities, so eternal ). A phenomenon which has no independent existence but is not purely an action may not exist, a function obeying causality and lead to positive or negative. It is therefore possible to anticipate the results of our actions and thus to organize our relationship with the world. A Tibetan verse says:
"Emptiness is not a lack of functionality,
But the absence of reality, absolute existence.
production in dependence does not imply an intrinsic reality
But a world like an illusion. "


We see here how the Buddhist vision of the world, it is all consistent with the data of modern physics, a radical break with our usual way of looking the world, insofar as this vision is absolutely inconceivable to reason. Hence the need for the Buddhist, to abandon the use of language to engage in pure experience - quiet by nature.
Supervielle Poetry, like all poetry, do not go so far, of course, but the language she uses, she transforms into a gesture of approach and not the receiver of a message. In this way, it can be like silence to lead us to experience a vision that is both impossible and closer to a truth of the universe. Provided, of course, to hear that truth as non-conceptual.
there so far between "pansympathie" spoken Supervielle and interdependence Buddhist who refuses to accept reality as an entity and not appointed by the negative term, while "emptiness"? Just re-read these two verses of the poet: "And the star said: I tremble at the end of a wire. / If nobody believed in me, I cease to exist. "This is the approximation that is established throughout my own reading, in my essay on poetic knowledge as Supervielle since quitting scientific knowledge to develop a knowledge different, completely paradoxical. And even before - this fact should be highlighted - for having knowledge of Buddhist philosophy. Therefore my only conclusion is really the echo of this proximity.

Wednesday, April 4, 2007

Desinstalar Acer Arcade Deluxe

Supervielle Jules Jules Supervielle

2) In terms of scientific knowledge of the universe, then:

In his remarkable book, Jules Supervielle poet's inner world, Paris, Jean Flory, 1939, Christian wrote Sénéchal this: Without

be classified as "scientific poets," Jules Supervielle is yet of all his contemporaries, we offer the world the image most consistent with the findings and assumptions of the latest science. Without a word is never even alluded to a scientific conception, the poet's intuition is consistent with astronomy, physics and biology today. We pointed out the tremendous momentum that Supervielle received a book popularizing astronomy. But the poet has made to science its benefits by freeing their minds from earthly ties and allowing them to better understand, through emotion, the full extent of the conquests of the telescope and stellar chemistry. There is more: it is the essence of biology that we sense in the vision of moving body-universe which advance, carrying a thousand lives up to the creation of stones, trees, beasts and men and which, like everything that exists, remain subject to vertigo of eternal birth - and that is the essence of physics that we find in the abolition of restrictions and the belief in the unity and the permanence of the forces of moral and physical universe, which make the work Supervielle projection, in the poetic nature of dreams and emotions, the design of a "Noosphere" - the word is from P. Teilhard de Chardin - which would focus at the forefront of sidereal energy, human energy spiritualized, the living and the dead. (P. 233-234)

I, myself, took my distance on this point, with what Christian Sénéchal, not rejecting them, far from it. Convergence he sees between poetry and Supervielle major advances of modern science is irrefutable. But the poetic language can not be satisfied, to me, to accompany or anticipate major discoveries of knowledge. He is of another order. It why the real Supervielle modernity - one that transcends time and reaches a kind of universal - seems to raise a third plane, metaphysics.

Sunday, April 1, 2007

How To Make Baby Carriage Diaper Cake?

CULTURE ON FRANCE 29 April 2007

Issue of Sunday, April 29 2007Jules Supervielle (1884-1960): The man who thought of something else

View website: http://www.radiofrance.fr/chaines/france-culture2/ emissions / vie_oeuvre / fiche.php? diffusion_id = 51255 & pg = future

by Françoise Estèbe Director: Nathalie TRIANDAFYLLIDIS

You are a great builder of bridges in the area, wrote Rilke to Supervielle. Bridges between two cultures - Uruguay and France, bridges between the world of the living and the underworld, bridges between the real and the unreal ... Supervielle Jules said of himself that he was "born under the signs twins travel and death. "In 1884 Supervielle born in Montevideo, Uruguay, French parents. That same year, during a trip to his family in France, he lost his parents at weekly intervals. Jules was eight months. He was brought to Uruguay by her uncle and aunt he believes to be his biological parents. At the age of nine years, the terrible family secret will be found incidentally and brutal. He then begins to copy fables - the dream and its countless metamorphoses as exorcism of reality. Jules Supervielle life will be punctuated by the comings and goings of his voyages between France and Uruguay, its oscillation between two cultures. The sea, he says is his place. He acknowledges having long dreaded madness. His poetic work, which will be greeted by the biggest names in the literature of his time, will be a long journey to get away from dark monsters lurking in his subconscious. Collections "quays" 1922 and "gravitas" in 1925 marked his mature poetry. But Supervielle is also the author of novels, "The man of the Pampas," "The Child Thief", "The Survivor", text and wacky fantasy, fables, fairy tales, "The child of the high sea ", lost in the ocean between the living and the dead, so emblematic of the shifting identity Supervielle. He also wrote plays, "The Sleeping" extravaganza in three acts, "Robinson", "Scheherazade", created by Jean Vilar at the Festival d'Avignon in 1948. Lonely, silent, on the margins of literary movements and avant-garde, eager reconcile modernity and classicism, Jules Supervielle has handled all types, all the poetic rhythms in "a haunting accuracy" and in a perpetual quest for the abolition of borders between reality and elsewhere. And the voice of Julius Supervielle (archive INA Martine Auger) texts read by Bernard Gabay and Yasmine Modestine
Participants:
Boncenne Dove. author
Florence Delay. The brief écrivainDans Seduction (1987) devotes a study to Jules Supervielle
Sabine Dewulf. author Jules Supervielle or poetic knowledge in the two volumes ed. of the Harmattan
Jean-Pierre Lemaire.
poet Ricardo Paseyro.
poet Lionel Ray. poet, a study apubl Supervielle in No. 2 of the review Trajectory
Anne-Marie Supervielle.

Tuesday, March 27, 2007

Alprazolam For Public Speaking

Modernity of Julius Supervielle


poetic terms, first:

Supervielle Jules has always kept out of the Surrealists who literally ruled the first half of the twentieth century (remember that the Manifesto André Breton 1924). Desiring to provide a more humane and poetry to reconnect with the world, he rejected automatic writing (as the Surrealists themselves quickly abandoned) and the dictatorship of the unconscious, without denying the achievements of modern poetry from Baudelaire, Rimbaud and Apollinaire, as well as some fundamental innovations of Surrealism.
Attentive to the universe around him as the ghost of his inner world, he was one of the first to advocate this vigilance, this control that subsequent generations, away from the surrealist movement, were put to the honor. He anticipated the movements of the years 1945-50, dominated by powerful personalities of Rene Char, Henri Michaux (his close friend), Saint-John Perse and Francis Ponge, then - after the parenthesis pioneering the years 1960-70 - those of poets who want to create a new lyricism and introduce some form of sacred or at least, a more modest approach of the mysteries of the universe, without radical questioning Language: Yves Bonnefoy, Philippe Jaccottet, Jacques Dupin, Eugene Guillevic, Jean Grosjean, Frénaud Andre, Andre du Bouchet, Jean Follain, to name a few.
His admirers call or spiritual successor Rene Guy Cadou, Alain Bosquet, Lionel Ray, Claude Roy, Philippe and Jacques Reda Jaccottet ...

Friday, February 9, 2007

Marlin-glenfield Model 36g

FRAMES OF THE NEW ECONOMY, show Public advertising (creation 2002) no longer turns

FRAMES OF THE NEW ECONOMY

JAW 36 in advertising is a big game live, at once poetic, magical and squeaky; posters cut foil with mechanisms and raw scrap. A constant shift in word games and tricks, a show of promotional release, a UFO uncontrolled, a daydream ... but fake, manipulated in obvious bad faith ...




In the streets, on walls, displayed in public advertisements in the frames. A mechanical image and word relentless. Wholesale Box slogan: "FOR SALE". By promises, dreams, travel, color, action plan, a fairy coaxing, playful. "It's a case that works," we are the class winners, self-made men, angels, New Bizz players.
In the frames of the new economy, a world within reach, a story of manipulation, history of puppets, illusions, special effects. Pulicitaires animated images, the strength of the wrist, with bare hands. "But who pulls the strings? Here behind the scenes ...


writing: Estelle CHARLES, Fred Parison
staging: Estelle CHARLES
staging / construction: Fred Parison

actors: Eric BEZY, Noemie Carcaud Fred Parison
soundtrack: William Parison
director: Gilles Dumait David YELITCHITCH

In co-production with Stage and Territories in Lorraine-regulated theater

project supported by: Regional Direction of Cultural Affairs Lorraine, Lorraine Regional Council, General Council 54, of Nancy, ADAMI

Friday, February 2, 2007

Ap Bio Lab # 4 Awnsers

HE SNOWBALL








"IT IS SNOWBALL!" a show of manipulated objects and mechanical all public

this could be the memory a Christmas track from childhood on the mist of a window, a fresh footprint in the snow, or a ballet of mechanical toys.

It would be a record for the magical Christmas objects with mechanisms and machines, tips, gadgets, tricks of sleight of hand ... and a refrigerator and more.



writing, construction and play: Estelle CHARLES, Fred Parison



Arnaud Martin pictures


In co-production with 57 APART

project supported by the General Council 54, and the city of Nancy

Black And Decker Blender Service Canada

AQUARIUM L (creation 1998 and 2000) no longer turns



It would be unfortunate if all dumps disappear on the horizon of 2002. They are the witnesses of our time. Our consumer society has become accustomed to throw everything away, so the sea became one of the venues for the oblivion of our waste (out of sight, out of mind) and looks more and more like a real trash.
It is for us to get the squares of cities and villages the result of this slow agony in the form of a giant aquarium fictitious defined by a cubic metallic structure, without water proof walls, filled with wildlife and aquatic flora somewhat dilapidated, made from various wastes. By putting pollution in the center of our show, it seemed logical to use as a raw material-object trash and recycle the animated object.
All these scraps are indeed tampered, adulterated, assembled to create a real underwater landscape in motion, with its fish, shellfish, algae and its monsters of all kinds.
The magic of the diversion of objects, setting in motion of inert waste resuscitated, tinkering with its mechanisms and tricks apparent form the main show. They help to revive the viewer the charm of old toys, playful inventiveness finds unnecessary constructive and wonder of the show at 2 under.



photos Fahim Gaballah

gestural and delusional actors manipulate and recreate the view in different worlds, merging into a series of sequences where characters, fish, and sea monsters' s invent adventures bathed in mystery suspense and kitcheries between reality and derision poeticized.



Sea Life / d'ordures the underwater brush, hunting to 13 golds, the tide dressed in black, the teeth of bitter dogfight, 6 queens for a false alarm. ..
All snorkel in a soundtrack hypnotic, a sort of sound collage undulating rhythms varied atmospheres recalling some pictures. (Sound effects, music, comments, rejoinders and stereotyped dialogues moved).



writing construction staging: Estelle CHARLES, Fred Parison
construsteurs: Fred Parison David YELITCHITCH
actors: Leatitia ANGOT, Estelle CHARLES, Stephanie Constantin, Natacha Henry, Emily KATONA, Alice LENOIR, Fred Parison David YELITCHITCH
soundtrack: Frédéric Bailly, William Parison, Fred Parison
sound engineers: William Parison, Gilles Dumait


project supported by the General Council 54, the city of Nancy, Challenge young, tropical aquarium in Nancy, AGEF

How Much Is John Crier Paid Paid

MAY BE A DRAGON IN THE RELEASE OF DOGONS

Maybe a dragon in the Dogon! "For this little

short form (10 minutes), jaw 36 is reduced to its simplest expression. We can speak of a very personal experience. Fred designs, handles and drives all her little world, a little world, which for this proposal to stick to the skin.



"I could write a text, just text, but he missed
images ....
I could take a picture, but he missed
color ....
I could make a painting,
But he missed the movement ....
I could make a machine
But he missed the life ... ...

So I mixed everything I tried, tried to build a small visual form with all that ... "

An attempt

fragile, unstable, equilibrium, to describe and speak of a present somewhat autobiographical, a mix constantly bubbling inside, and sweet contemplation of the life that revolves around us.




"just relying on a" search inside the dragon "and the shape of the dragon's body, curves and turns, I see this little short form as" an exercise of style "occurring as a visual poem, sinuous, with the central image, the curve and meander, all pretenses and other evocations rantings. "

Arnaud Martin pictures
"

Given to see under the starry sky, set in a little corner of greenery, even the grass, dirt and dead leaves, the device and the various buildings are reduced to a crude DIY, on the extreme simplicity. Using twigs, twine, a few planks of shadows, projected images, all manipulated by hand.

A form that can bring a sketch, an outline, a sketch ... ..
writing, construction, staging, game: Fred Parison
In co-production with scenes and areas in Lorraine-regulated theater