{"id":2480,"date":"2013-03-09T19:04:56","date_gmt":"2013-03-09T19:04:56","guid":{"rendered":"https:\/\/luisnaon.com\/parentesis-parenthese-2013\/"},"modified":"2025-02-17T14:49:27","modified_gmt":"2025-02-17T14:49:27","slug":"parentesis-parenthese-2013","status":"publish","type":"post","link":"https:\/\/luisnaon.com\/en\/parentesis-parenthese-2013\/","title":{"rendered":"Par\u00e9ntesis (Parenth\u00e8se) (2013)"},"content":{"rendered":"<p class=\"post-title\"><strong>Instalation Sonore Multicanal<\/strong><br \/>\n<strong>sur des po\u00e8mes de Juan Gelman dits par lui-m\u00eame<\/strong><\/p>\n<div class=\"post-content\">\n<div><strong>Eric Picard<\/strong> : <em>violoncelle<\/em><\/div>\n<p>&nbsp;<\/p>\n<div><em><br \/>\n<\/em><!--more Lire la suite -&gt;-->Inauguration le 14 novembre 2013, jusqu&#8217;au 2 f\u00e9vrier 2014<br \/>\nEspacio de Experimentaci\u00f3n Sonora (EES)<br \/>\nMUAC &#8211; Museo Universitario Arte Contempor\u00e1neo<br \/>\nCentro Cultural Universitario\u00a0M\u00e9xico &#8211; DF<\/div>\n<div>\n<table class=\" alignleft\" style=\"border-color: #ffffff; width: 279px; height: 56px; background-color: #ffffff;\">\n<tbody>\n<tr>\n<td style=\"border-color: #ffffff; background-color: #ffffff;\"><audio class=\"wp-audio-shortcode\" id=\"audio-2480-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/www.luis-naon.com\/luisnaon\/wp-content\/uploads\/music\/parentesis\/parentesis.mp3?_=1\" \/><a href=\"https:\/\/www.luis-naon.com\/luisnaon\/wp-content\/uploads\/music\/parentesis\/parentesis.mp3\">https:\/\/www.luis-naon.com\/luisnaon\/wp-content\/uploads\/music\/parentesis\/parentesis.mp3<\/a><\/audio><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<\/div>\n<blockquote>\n<div>\n<table class=\" alignleft\" style=\"border-color: #ffffff; width: 695px; height: 461px; background-color: #ffffff;\">\n<tbody>\n<tr>\n<td style=\"border-color: #ffffff; background-color: #ffffff;\">\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-300\" src=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/2014\/11\/juan-gelman_pt_m.jpg\" alt=\"juan-gelman_pt_m\" width=\"271\" height=\"409\" \/><\/p>\n<p><span style=\"font-size: 16px;\">no stan muridus lus p\u00e1xarus (1)<br \/>\n(ils ne sont pas morts les oiseaux)<br \/>\n\u00bfqu\u00e9 es este ruido en la cabeza?\/\u00bfvos?\/ (2)<br \/>\nC\u2019est quoi ce bruit dans la t\u00eate ?\/toi ?<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/blockquote>\n<p>&nbsp;<\/p>\n<div style=\"text-align: justify;\">Depuis les ann\u00e9es soixante dix j\u2019\u00e9coute la po\u00e9sie de Juan Gelman. D&#8217;abord de mani\u00e8re clandestine \u2013 Juan \u00e9tait interdit pendant la dictature. J\u2019ai commenc\u00e9 \u00e0 tisser secr\u00e8tement, une musique qui a en commun avec sa po\u00e9sie l\u2019exigence, la quotidiennet\u00e9 de la pratique artistique, l\u2019attente alerte de l\u2019arriv\u00e9e depuis mes profondeurs d\u2019un chant v\u00e9ritable et superflu dans l\u2019imm\u00e9diat mais indispensable pour continuer \u00e0 vivre. J\u2019ai eu la grande chance de faire c\u00f4toyer mon \u00e9criture secr\u00e8te du son avec Juan qui lisait ses po\u00e8mes dans une pr\u00e9sentation en janvier 2012 \u00e0 Paris.<\/div>\n<div style=\"text-align: justify;\">Pour cette occasion j\u2019ai \u00e9crit neuf courts fragments (comme des po\u00e8mes courts) pour un violoncelle soliste, qui se sont intercal\u00e9s dans sa lecture.<\/div>\n<div style=\"text-align: justify;\">J\u2019ai appel\u00e9 ces musiques <em>\u00ab Gelmanianas \u00bb<\/em>, une sorte d\u2019hommage et de relecture musicales de la po\u00e9sie de Gelman, dans lesquelles sont pr\u00e9sentes aussi l\u2019alt\u00e9ration subtile des mots et sa prosodie au moment de lire. Ma lecture de ses po\u00e8mes a toujours \u00e9t\u00e9 accompagn\u00e9e par sa propre voix.<\/div>\n<div style=\"text-align: justify;\">Dans \u00ab Parenth\u00e8se \u00bb je reprends en partie cette id\u00e9e, mais pas dans la pr\u00e9sence physique du musicien et du po\u00e8te (bien qu\u2019ils soient bien l\u00e0, dans l\u2019espace \u00e9lectroacoustique). Cette fois la distance n\u00e9cessaire pour atteindre la concentration ou la d\u00e9couverte du visiteur, centr\u00e9 dans le ph\u00e9nom\u00e8ne sonore. \u00a0Cette distance est accentu\u00e9e par l\u2019inclusion d\u2019une troisi\u00e8me famille de sons, qui commentent, se m\u00ealent ou s\u2019intercalent, entre la voix et le violoncelle purs.<\/div>\n<div style=\"text-align: justify;\">La forme de ces successions, qu\u2019est la composition m\u00eame, r\u00e9pond au double crit\u00e8re de contraste et de relation. Elle donne comme r\u00e9sultat une lecture cyclique, en apparence interminable ; chaque petit d\u00e9but d\u2019une s\u00e9quence est le d\u00e9but de la totalit\u00e9 de l\u2019\u0153uvre. Chaque point d\u2019entr\u00e9e, pris au hasard, est le bon.<\/div>\n<div style=\"text-align: justify;\">Dans l\u2019espace g\u00e9n\u00e9ral de ce travail il y a donc trois \u00e9l\u00e9ments principaux qui s\u2019interp\u00e9n\u00e8trent :<\/div>\n<div style=\"text-align: justify;\">La voix de Juan Gelman disant ses po\u00e8mes, le violoncelle jou\u00e9 par Eric Picard en disant les \u00ab Gelmanianas \u00bb et les commentaires et parenth\u00e8se \u2013 parfois de sons purs ou issus de mon travail pr\u00e9c\u00e9dent.<\/div>\n<div style=\"text-align: justify;\">Le choix des po\u00e8mes pour un tel projet est une t\u00e2che difficile. Juan m\u2019a donn\u00e9 une enti\u00e8re libert\u00e9 dans ce choix, me chargeant, du coup, d\u2019une responsabilit\u00e9 \u00e9quivalente.<\/div>\n<div style=\"text-align: justify;\">Mon choix lui a plut.<\/div>\n<div style=\"text-align: justify;\">Ce que le spectateur entend est directement en relation avec mon \u00e9coute interne ; peut-\u00eatre, cette fois, beaucoup plus que dans n\u2019importe quelle autre \u0153uvre musicale, dans laquelle le sens se dilue et devient ambigu par d\u00e9finition (la musique pure est seulement \u00e7a et, par cons\u00e9quent, et heureusement, elle n\u2019a pas de signification).<\/div>\n<div style=\"text-align: justify;\">Dans la musique r\u00e9interpr\u00e9t\u00e9e subsiste toujours un doute, qu\u2019est l\u2019heureuse parcelle de libert\u00e9 de l\u2019interpr\u00e8te, qui cr\u00e9e le hiatus entre le cr\u00e9ateur et l\u2019auditeur.<\/div>\n<div style=\"text-align: justify;\">Ce n\u2019est pas le cas dans \u00ab Parenth\u00e8se \u00bb, o\u00f9 la voix de Gelman est la voix de Gelman et la musique qu\u2019on entend est la m\u00eame qui bourdonne dans mes oreilles.<\/div>\n<div style=\"text-align: justify;\"><strong>Luis Na\u00f3n<\/strong><\/div>\n<div><span style=\"font-size: 12px;\"><em>(1) \u00a0Juan Gelman \u2013De DIBAXU \u2013 (XXIX) Poesia Reunida \u2013 Seix Barral &#8211; Pag 840<br \/>\n(2) \u00a0Juan Gelman &#8211; De Citas (CITA XI) Poesia Reunida \u2013 Seix Barral &#8211; Pag 498<\/em><\/span><\/div>\n<div><em>\u00a0<\/em><\/div>\n<div><em><a href=\"https:\/\/www.luis-naon.com\/wp-content\/uploads\/images\/naon\/livre_parenthese.jpg\"><img decoding=\"async\" title=\"Livre Parenth\u00e8se\" src=\"https:\/\/www.luis-naon.com\/wp-content\/uploads\/images\/naon\/livre_parenthese_s.jpg\" alt=\"\" \/><\/a><br \/>\n<\/em><\/div>\n<div>\n<p>Le livre de l&#8217;installation <strong>Par\u00e9ntesis<\/strong><br \/>\ncontient les po\u00e8mes de Juan Gelman<br \/>\nchoisis par Luis Na\u00f3n<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #800000;\"><a style=\"color: #800000;\" href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/pdf\/parentesis\/Parentesis_ES.pdf\">voir en PDF espagnol<\/a><\/span><br \/>\n<span style=\"color: #800000;\"> <a style=\"color: #800000;\" href=\"https:\/\/www.luisnaon.com\/wp-content\/uploads\/pdf\/parentesis\/Parentesis_EN.pdf\">voir en PDF anglais<\/a><\/span><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Instalation Sonore Multicanal sur des po\u00e8mes de Juan Gelman dits par lui-m\u00eame Eric Picard : violoncelle &nbsp;<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[64],"tags":[],"class_list":["post-2480","post","type-post","status-publish","format-standard","hentry","category-5-solo-instrument-with-or-without-electronics"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Par\u00e9ntesis (Parenth\u00e8se) (2013) - Luis Na\u00f3n \/ compositeur<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/luisnaon.com\/en\/parentesis-parenthese-2013\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Par\u00e9ntesis (Parenth\u00e8se) (2013) - Luis Na\u00f3n \/ compositeur\" \/>\n<meta property=\"og:description\" content=\"Instalation Sonore Multicanal sur des po\u00e8mes de Juan Gelman dits par lui-m\u00eame Eric Picard : violoncelle &nbsp;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/luisnaon.com\/en\/parentesis-parenthese-2013\/\" \/>\n<meta property=\"og:site_name\" content=\"Luis Na\u00f3n \/ compositeur\" \/>\n<meta property=\"article:published_time\" content=\"2013-03-09T19:04:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-02-17T14:49:27+00:00\" \/>\n<meta name=\"author\" content=\"admin4luis\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin4luis\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/luisnaon.com\\\/en\\\/parentesis-parenthese-2013\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/luisnaon.com\\\/en\\\/parentesis-parenthese-2013\\\/\"},\"author\":{\"name\":\"admin4luis\",\"@id\":\"https:\\\/\\\/luisnaon.com\\\/#\\\/schema\\\/person\\\/3972d8c1fd95485284e1cba0cba78f0f\"},\"headline\":\"Par\u00e9ntesis (Parenth\u00e8se) (2013)\",\"datePublished\":\"2013-03-09T19:04:56+00:00\",\"dateModified\":\"2025-02-17T14:49:27+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/luisnaon.com\\\/en\\\/parentesis-parenthese-2013\\\/\"},\"wordCount\":706,\"image\":{\"@id\":\"https:\\\/\\\/luisnaon.com\\\/en\\\/parentesis-parenthese-2013\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.luisnaon.com\\\/wp-content\\\/uploads\\\/2014\\\/11\\\/juan-gelman_pt_m.jpg\",\"articleSection\":[\"5. 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