Running Song

Performance type: 
action sonore
Performance carried out in 5 steps for a length of approximately 4 minutes each all along the afternoon in various locations in the Villa Arson.

step 1: 14h45 (Garden / kiosk) step 2: 16h15 (Stair case / access Grand amphitheater) step 3: 17h15 (Garden, square table) step 4: 19h45 (Grand hall) step 5: 21h15 (Higher terrace)
Step 1: 14:45 (Garden / kiosk)
A sort of a cabaret dancer performs a ventriloquy number with a small puppet over the song Rossignol amoureux (nightingale in love) by Leïla Ben Sedira.
Her look: a mini-dress to the bottoms, brown and yellow, with a Hawaiian pattern, red heals, red jacket with an antique pattern, a bun high on her head.
The puppet: hairy, pink, it is a bird.
The action in details: she arrives with a jukebox on wheels (the typical one for the singers on the subway), looks at the audience for a short while, pulls the puppet out of her jacket pocket, starts the music. The puppet opens its beak and flies following the music rhythm and intonations, as if it was singing. The performer's arm is thus very alert while the rest of the body remains supple but relatively immobile. At the end of the song lasting 3 minutes, the puppet bows, the performer removes her hand, turns it over, like a glove, and uses it as a container to request small change walking through the audience rows. She takes the juke box back, walks through the garden then leaves the Villa Arson through the entrance door.

Step 2 : 16:15 (Staircase / access Grand amphitheater)
A young lady interprets Hymne à la Joie (Ode to Joy) in a loop with a recorder.
Her look: a long pastoral and flowery dress, white shoes, a half braided ponytail.
The accessories: a lectern, scores, a recorder, a carpet for the resale of home-recorded singles.
The action in details: the spectator, forced to go through the staircase ends up facing this young lady who stares at them with a blissful smile. She has thick eye-brows and some lipstick on the mouthpiece of the recorder. There is a typo on the record cover, we can read "Hymen à la Joie" instead of "Hymne à la Joie." She will only stop when there will be almost nobody left. She will bow, pleased with herself, and leave by the lower staircase

Step 3: 17:15 (Garden, square table)
A woman from the East sings a song invented to beg "Hello Sir, Hello Madam,/ I am from Romania/ Impossible to work/ Please, please/ A little ticket/ To eat." Then she will dance over the song "Bouger Bouger" ("Move Move") by Magic System.
Her look: a shinny blue flight jacket, a viscose skirt, golden heals, a pregnant woman's belly.
The action in details: she enters and leaves through the entrance door of the Villa Arson. For the sung part, she is standing near the square table, for the danced part, she gets up on the table. The audience is sat on the table and scattered everywhere in the garden. For the begging part (with a small plastic purse with an English flag on it), she leaves the Magic System song on and walks around the audience, whispering furtive "thank-you."

Step 4: 19:45 (Grand hall)
Positioned in the middle of the half floor of the large staircase, a blind woman all dressed in black sings L'Aigle noir (The Black Eagle) by Barbara in karaoke.
Her look: a long black leather skirt, a black lace blouse, big black sandals, sunglasses.
The accessories: a bowl, the karaoke track of the song.
The action in details: she is positioned in a square of light. Alone on this half-floor and the public bellow or on the sides, we could believe we are at the Stade de France. The body will remain perfectly immobile, the head will turn slightly towards the sky in the intense musical moments. She is already there when the audience arrives, someone [Elodie Fradet, editor's note] will help her leave at the end of her performance. The voice is low and guttural.

Step 5: 21:15 (Superior terrace)
A woman arrives with a juke box on wheels and a little girl in her arms. [Capucine, a child "loaned" by her mother for the time of the song, editor's note]. She sings a cappella La Femme est l'avenir de l'homme (Woman is the Future of Man) by Jean Ferrat.
Her look: a long yellow mustard dress, golden plastic clogs.
The action in details: the audience is already installed on the terrace. The woman arrives with the child in her arms. During the song, interpreted like a lullaby, the chill will cry a little then will calm down. In three minutes, night has fallen darker and darker. The voice is high pitched, placed in the belly, the breath, relatively short. At the end of the song, the woman walks through the audience begging with her hand, then left by the side opposite the public's direction.

The audience remains passive, except for the "begging" part of each step, it has the freedom to give or not (and thus in a way, to interact with me or not).
Jeanne Moynot
Jeanne Moynot
Elodie Fradet
Eric Mangion
Florimond Dupont
Bibliographical sources: 
Art 21, numéro 31, été 2011, page 77.
Theoretical background: 
The audience moves around the Villa Arson between the various events locations (the Hall, the amphitheater, the studios…). During the day of Saturday, it is intercepted five times in its movements by a performer interpreting five street singers and begging at the end of each performance.
There is nothing more intimate than voice.
The music lover confuses all the flat surfaces with a tam-tam, the first words of a song starting too early, the fan of Johnny Hallyday paying him a sincere tribute but at a karaoke… All those para-musical elements constitute the database at the origin of my performances.

At the mouth of the subway's escalator suddenly appears the entertainer. A necessity to survive, looking for acknowledgement, the only certainty is that he has taken the plunge and that he offers himself naked to our eyes. The voice and the body, possibly an instrument or a musical support, sometimes an accessory: the thrift in the means multiplies the dramatic impact. The dramatic quality, this layer of signs and sensations building up on stage, is invariably present in a space of a few square meters instinctively delimited.
The feeling at the origin of my performances is that of empathy, a projection made in the other's body regarding not understanding but his own feeling.

There is not a field more codified by platitudes than that of maternity. There the woman's body is envisaged as an open entity and not as a threatened entity. Thus, she envelops, encompasses, becomes the original matrix, exploding the barriers to the intimate self to go towards the universal and the live-together.
Starting date: 
05 21 2011
2011/05/21-21:304 minutes
lors de l'événement Sitôt Dit, week-end de clôture des expositions Poésie Action de Bernard Heidsieck et Collection (17 février 2011) de l'Encyclopédie de la Parole.
20, avenue Stephen Liégeard

Running Song

Florimond Dupont
Synopsis / Description: 
vidéo de la performance

Running Song

Elodie Fradet
Synopsis / Description: 
vidéo de la performance, HDV.