{"id":3524,"date":"2018-05-25T14:44:34","date_gmt":"2018-05-25T14:44:34","guid":{"rendered":"http:\/\/nicolasdescoteaux.com\/?page_id=3524"},"modified":"2018-12-01T00:16:22","modified_gmt":"2018-12-01T00:16:22","slug":"1-jaz-2","status":"publish","type":"page","link":"http:\/\/nicolasdescoteaux.com\/?page_id=3524","title":{"rendered":"1- Jaz"},"content":{"rendered":"

[vc_row][vc_column][vc_gallery type=”flexslider_slide” interval=”0″ images=”4287,4303,4302,4301,4300,4299,4298,4297,4296,4295,4294,4293,4292,4291,4290,4289,4288″ img_size=”full” onclick=”” css_animation=”slideInDown”][\/vc_column][\/vc_row][vc_row][vc_column offset=”vc_col-sm-offset-1 vc_col-xs-offset-1 vc_col-xs-12″][vc_custom_heading text=”JAZ|” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css_animation=”cms_animate wow slideInRight” cms_custom_headding_type=”heading-borderleft-textbold”][\/vc_column][\/vc_row][vc_row row_mask_bg=”” row_arrow=”” css=”.vc_custom_1518409839979{padding-top: 30px !important;}”][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1541342220477{padding-left: 30px !important;}”]Texte :<\/strong> Koffi Kwolul\u00e9<\/p>\n

Mise en sc\u00e8ne :<\/strong> Kristian Fredric<\/p>\n

Chor\u00e9graphie :<\/strong> Laurence Levasseur<\/p>\n

 <\/p>\n

Sc\u00e9nographie :\u00a0<\/strong>Kristian Fredric<\/p>\n

Robotique\u00a0<\/strong>: Simon Laroche<\/span><\/p>\n

Costumes :<\/strong> Maril\u00e8ne Bastien<\/p>\n

Lumi\u00e8res :<\/strong> Nicolas Desc\u00f4teaux<\/p>\n

Musiques :<\/strong> Michel Robidoux<\/p>\n

Vid\u00e9o :<\/strong> Yves Dub\u00e9<\/span><\/p>\n

Photos :<\/strong> \u00a9 Nicolas Desc\u00f4teaux<\/p>\n

 <\/p>\n

PRODUCTION :<\/strong><\/p>\n

L\u00e9zards-qui-bougent, Th\u00e9\u00e2tre des Deux Mondes, Usine C
\n<\/span><\/p>\n

2010-2011<\/span><\/p>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_custom_heading text=”Description | Citations” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes”][vc_column_text]La proposition de base de la mise en sc\u00e8ne de Jaz fut \u00e9tablie plus de trois ans avant la cr\u00e9ation; une approche visuelle futuriste et d\u00e9brid\u00e9 \u00e0 la Enki Bilal, des images vid\u00e9o denses, des sons percutants, bref le spectacle sera un autre coup de poing! Seule en sc\u00e8ne et harnach\u00e9 \u00e0 une table pivotante et inclinable, la com\u00e9dienne \u00e9volue dans cette ar\u00e8ne o\u00f9 la machine p\u00e9trie et fa\u00e7onne son oblig\u00e9e\u00a0 au fil d\u2019un interrogatoire muscl\u00e9. Malgr\u00e9 sa r\u00e9sistance, Jaz, contrainte, se livre et se vide de son essence m\u00eame sans toutefois jamais oublier son propre nom. Le d\u00e9cor est un objet d\u00e9pos\u00e9 dans l\u2019espace comme un socle dans un mus\u00e9e. Suivant les inspirations des sculptures de Giacommetti et des peintures\u00a0 de Baker et de Mark Rothko, l\u2019\u00e9clairage fut utilis\u00e9 de fa\u00e7on tr\u00e8s sculpturale et les ombres et lumi\u00e8res pouss\u00e9 au maximum. Pas toujours flatteur pour le sujet sur sc\u00e8ne, mais combien efficace pour l\u2019\u0153il du spectateur et la lecture de la dramaturgie.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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