Le Dialogue de L'Ombre Double
A film by SIBJA
The global health crisis the world is going through has changed the habits and mentalities of the audience and of the artists, at the start of a new era. Turning more than ever towards digital formats, the world of the performing arts must reinvent itself and develop a new type of relationship with the audience; it is necessary to offer an experience differing from the concert hall format – in order to replace it in the short term, and to complement it in the long term. In this context, the art collective SIBJA, together with Teresa Rotemberg (choreographer) and Neckar Doll (video), explores new relationship between film, dance and contemporary music. The video format, although widely used in many forms of “popular” music, remains hardly used in classical or contemporary practices; and when it is, it rarely offers more than a demonstrative virtuosity, a decorative aesthetic, or a streaming. SIBJA offers a different path: not a videoclip, but a film without words, in which music and visuals interact to shape the story in a transdisciplinary way.
Pierre Boulez & Paul Claudel,
"Le Dialogue de l'Ombre Double"
From this perspective, the piece “Dialogue de l’Ombre Double” is a perfect match: Pierre Boulez takes as a starting point for the composition a scene from “Le Soulier de Satin” by Paul Claudel. By bringing Boulez’ piece to the screen, SIBJAS’s project develops further these transdisciplinary back and forthes; and the “Dialogue de l’Ombre Double” becomes a dialogue between various artistic languages. This new format promotes the dissemination of a music deemed difficult to a wider and unsuspected audience. The soundtrack of the short film is the musical work composed by Pierre Boulez for clarinet and electroacoustic set-up, interpreted in its saxophone version by Valentine Michaud. The scene of “Le Soulier de Satin” provides the second anchor to the story; the two characters, Rodrigue and Prouhèze, are embodied by Emmanuel and Valentine Michaud, and The Shadows are incarnated by a group of dancers, like the “choir” of the traditional Nô theater to which Claudel refers. The choreography is under the direction of Teresa Rotemberg.