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2010: "in flagrante"

1 Schubertiade (27.5.10)
2 Sonate (17.6.10)
3 Setting (1.7.10)
4 persona grata (10.9.10)
5 Sitcom (18.9.10)

Five performances of the Collectif barbare in public spaces, stemming from the experimentation of the earlier "Atteintes à la pudeur" ("Breaches of modesty").

Five actions which question the relationship between passers-by and public space, between art and civil society, and which are characterized by the ambiguity of their form, suspended between staging and distortion of everyday reality.

They play with the dynamics of the place and the codes of behavior it generates, the perception of the spectators, the unexpected and adaptation, interaction, decontextualization and associations. It is a process that requires openness on the part of artists who are ready to take on the public's and passers-by's gaze. The factor of the unforeseen requires participants to adapt and react quickly and effectively to the people they are confronted with and the space in which they find themselves. Such manipulation of the inherent dynamics of a space induces mechanisms specific to this situation.

What defines public space and what are the patterns and rules of behavior it induces? What is the difference between behavior in the private sphere and in a public space? And where is there room for tolerance?

A meeting point is also a place for questioning.

Dates: May 27 to September 25, 2010.
Venues: Biel's Central Square, Biel's Coop Bahnhof Centre

With: Collectif barbare and friends 



1. Schubertiade:
2 double basses, 1 cello, 1 violin, 2 flutes, 1 schwyzerörgeli, 2 baritones, 2 clarinets, 1 trumpet and 1 piano push the principle of the Schubertiade to its limits, realizing it in an open space, beyond any frame. The site and its dynamics require constant adaptation to the activity and acoustics.



2. Sonate:
strict composition of actions and movements to a given timing. Each action and movement of the 15 participating performers is precisely composed. The repertoire of actions and movements is inspired by what normally occurs in this new performance space: making a phone call, carrying shopping bags, pushing a bike, waiting for the bus, chatting, etc... But this repertoire is stylized by accelerating, slowing down or repeating; even by using musical forms such as fugue, canon, leitmotivs, themes and variations, etc... In addition to this repertoire, some performers execute private gestures and actions: sorting and trying on socks, doing the laundry, brushing their teeth, etc... 



3. Setting:
a living and ephemeral installation inspired by Mary Ellen Mark's (*1940) movie set photos.


4. persona grata:

A flutist under the salamis, violinists between the freezers...

Between the lines: what place for a child that does not consume within a space that invests so much in marketing strategies, strategies specifically designed to turn him or her into a consumer? How do marketers target children? And taking one step further, what is the relationship between culture and profit? Is music a consumer good?


5. Sitcom:

The last episode of "in flagrante” builds from two different points of view: that of the actors, fitted with wireless microphones, mingling with the ordinary crowd, and that of the spectators, sitting in rows between two boxes, all looking in the same direction. The format of the performance is directly inspired by sitcoms, (including commercials, applause, jingles and laughter), but differs from them drastically in the thematic content and the situation itself. Clashing with a ruthless soundtrack, the performers try to play their part amidst the chaos of the passers-by, the traffic and the natural dynamics of the Central Square.

This episode serves as the pilot for the final part of the outdoor trilogy “Atteintes à la pudeur” / “in flagrante” / “SITCOM” (scheduled for 2011).