{"node_view":"\u003Carticle class=\u0022node\u0022\u003E\n  \u003Ch1 class=\u0022node-title\u0022\u003EThe Th\u00e9\u00e2tre Expos\u00e9\u003C\/h1\u003E\n\n  \n\n          \u003Csection class=\u0022field field-name-field-description field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003EDescription\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003EJust like in a gallery, \u201c12 characters\u201d are exhibiting themselves. This research will enable us to uncover their personal universe: our universe?\u003Cbr \/\u003E\u003Cbr \/\u003ESome of our intentions are the following :\u003Cbr \/\u003E\u003Cbr \/\u003E-how can one play one\u0027s own character? \u003Cbr \/\u003E\u003Cbr \/\u003E-What we choose in our personal universe: words, gestures, objects...\u003Cbr \/\u003E\u003Cbr \/\u003E-going from painting to \u0022animated\u0022 painting, games and behavior.\u003Cbr \/\u003E\u003Cbr \/\u003E-Are we directly concerned by the universe that this display creates?\u003Cbr \/\u003E\u003Cbr \/\u003EJean-Claude Bussi asked each character to work separately, and then discover the works created by the others at the MJC Gorbella on Saturday, February 18 at 7:30 PM (if there are too many spectators there will be another showing at 9:30 PM).\u003C\/article\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n              \u003Csection class=\u0022field field-name-field-description field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003EDescription\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item odd \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003EWe are all isolated, each in turn becoming a spectator for the others. We feel a certain anxiety in putting together our exhibits, but our interest in what the others are doing makes it easier. Even though we are separate, underneath we are all in solidarity.\u003Cbr \/\u003E\u003Cbr \/\u003EWhat was shown: a distant interpretation of oneself, within the device suggested by Jean-Claude. Such a device does not make the \u201cme\u201d of the person exhibiting unrealistic or theatrical, it acts more like a catalyst or even like a trap.\u003Cbr \/\u003E\u003Cbr \/\u003EOne always feels so much like talking about oneself, and then Jean-Claude suggests doing it, so there we are. The result is sometimes unexpected: we would like to be pathetic, and in the end we are a bit funny. Something could be said about perception. We suggest something and people see something else. One could measure the distance between the way we see ourselves and how the others see us. Everyday problem and tedious exercise, but that is precisely the issue raised by this sort of experience.\u003Cbr \/\u003E It seems to me that the idea of the \u003Cem\u003ETh\u00e9\u00e2tre Expos\u00e9\u003C\/em\u003E is to eliminate INTERACTION parameters. We are placed next to one another, in a box, a bubble, a drawer, there is no interacting during the preparation, and no interacting during production. \u003Cbr \/\u003E\u003Cbr \/\u003EWhat is the result of this experiment? \u003Cbr \/\u003E\u003Cbr \/\u003ECorrespondences appear, similarities, echoes of our personal discourses, a subconscious phenomenon. A collective subconscious, or the subconscious of this micro environment which we represent. Common symbols interpreted in various ways, signs of recognition, a language without words which enables us to be together. \u003Cbr \/\u003E\u003Cbr \/\u003E This absence of interaction also provokes, offers, or produces, a great deal of freedom for each player -- whereas the theater is always a collective work, and its result is always a compromise. Such freedom is simple, concrete, it is the freedom to \u201callow\u201d oneself to do something. The spectator must also be free, which means that he must be without prejudice, without a priori, without filters. This is so difficult that the\u003Cem\u003E Th\u00e9\u00e2tre Expos\u00e9\u003C\/em\u003E doesn\u0027t worry about the audience and it can be played out without an audience, with just the exhibitors.\u003Cbr \/\u003E\u003Cbr \/\u003EPractical aspects are particularly important here. This is truly a no man\u0027s land. No audience. In the first place, there are no spectators to conquer or to seduce. Which doesn\u0027t do away with stage fright; another kind of stage fright arises, pertaining to group therapy: one is exposed to one\u0027s peers. There is fear, but not negotiation.\u003Cbr \/\u003E\u003Cbr \/\u003EWe do this in the countryside, just for ourselves. We meet in these virgin areas, devoid of obsolete significations, fashionable trends, obvious symbols. Each gesture becomes a first experience once again, and the whole is a quiet experiment conducted in an outdoor laboratory, away from long-winded theories. This outdoor work reminds us of other experiments, especially pictorial ones. This neutral and unblemished place where one can attempt and allow oneself something different, is also the remotest part of the provinces. Of administrative and economic provinces, and also of the provinces of discourse and imagination. The place where shaky attempts, aesthetic reversals, absurd demonstrations are all possible, far away from the up-to-date celebrities of the theater, of galleries or of the media.\u003Cbr \/\u003E\u003Cbr \/\u003EFar from all this, and then, what remains in the memory, what other world have we had a glimpse of? Each one\u0027s imagination, a tiny piece of course. A small interior theater, a personal mythology with neither great names nor great actions.\u003Cbr \/\u003E\u003Cbr \/\u003EEach one of us repeatedly sees oneself as a character symbolizing his or her own life. It enhances one\u0027s habits, manias, stereotypes, one\u0027s little baggage of keywords through which the greater part of one\u0027s life is organized.\u003Cbr \/\u003E\u003Cbr \/\u003EAll of this is not small, it is rather condensed, structured, homogeneous. For a sharp, clear and precise moment, we are what we are, without interaction, completely subjectively.\u003Cbr \/\u003E\u003Cbr \/\u003EIn this sense it is a moment of pure exhibitionism, without perversity, when we let go and renounce, without aggressiveness or provocation, sad or happy, but not nasty, not desperate.\u003Cbr \/\u003E\u003Cbr \/\u003EIn short, the beginning of the revelation of our true character, cleared of social nuances, unpleasantness, usages. One woman who seemed so sure of herself looks really lost; another man who was so prudent completely lets go. Each tableau reveals a man or a woman that is more true, if one can avoid misunderstandings about this word. More real? Perhaps this theater, being open to such an experimental device, to such clearly defined characters, is very realistic, imaginarily speaking.\u003Cbr \/\u003E\u003Cbr \/\u003EAnd to conclude, let\u0027s not forget how arbitrary these silhouettes are, how fragile the personal imagination that we were able to express for a privileged moment within a small group. Let\u0027s not forget to cultivate the inner garden where these fantastical and useless characters are wandering, let\u0027s not forget to protect them, and every once in a while during a propitious sunset, to listen to them. They have so much to say, but they are speaking to themselves.\u003Cbr \/\u003E(September 1981)\u003C\/article\u003E\u003Caddress rel=\u0022author\u0022\u003EPhilippe Chartron\u003C\/address\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n      \n    \u003Csection class=\u0022field field-name-field-concepteur field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ECreator\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EJean-Claude Bussi\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-executant field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EPerformer\u0026nbsp;\u003C\/div\u003E\n  \t  \t\u003Cdiv class=\u0022field-items\u0022\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EJean-Claude Bussi\u003C\/div\u003E\n              \u003Cdiv class=\u0022field-item odd \u0022\u003EDaniel Biga\u003C\/div\u003E\n              \u003Cdiv class=\u0022field-item even \u0022\u003EJean-Marc Costantino\u003C\/div\u003E\n              \u003Cdiv class=\u0022field-item odd \u0022\u003ECatherine Delserre\u003C\/div\u003E\n              \u003Cdiv class=\u0022field-item even \u0022\u003EFrancis Godard\u003C\/div\u003E\n              \u003Cdiv class=\u0022field-item odd \u0022\u003EMarie-Jeanne Laurent\u003C\/div\u003E\n              \u003Cdiv class=\u0022field-item even \u0022\u003EPaul Laurent\u003C\/div\u003E\n              \u003Cdiv class=\u0022field-item odd \u0022\u003EPierre Lhiabastres\u003C\/div\u003E\n              \u003Cdiv class=\u0022field-item even \u0022\u003EAlice Pieffort\u003C\/div\u003E\n              \u003Cdiv class=\u0022field-item odd \u0022\u003EMarc Roux\u003C\/div\u003E\n              \u003Cdiv class=\u0022field-item even \u0022\u003EPaula Szabo\u003C\/div\u003E\n        \n\n    \t  \t\u003C\/div\u003E\n  \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-organisateur field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EProducer\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EJean-Claude Bussi\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \t\u003Carticle class=\u0022node-effectuation\u0022\u003E\n  \u003Ch1 class=\u0022effectuation-title\u0022\u003E\u003C\/h1\u003E\n\n  \n    \u003Csection class=\u0022field field-name-field-topologie field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETopology\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003Ecultural complex\/sports complex\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-lieu field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EPlaces\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EMJC Gorbella\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-date-de-debut field-type-text field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EStarting date\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E02 18 1977\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-address field-type-addressfield field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EAdress\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Cdiv class=\u0022addressfield-container-inline locality-block country-FR\u0022\u003E\u003Cspan class=\u0022locality\u0022\u003ENice\u003C\/span\u003E\u003C\/div\u003E\u003Cspan class=\u0022country\u0022\u003EFrance\u003C\/span\u003E\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n\u003C\/article\u003E  \n          \u003Csection class=\u0022field field-name-field-contexte-theorique field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003ETheoretical background\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003EThe Th\u00e9\u00e2tre Expos\u00e9 \u003Cbr \/\u003E\u003Cbr \/\u003ETowards the end of January or the beginning of February, I would like to do an experiment which would be somewhat in between and exhibition and a performance. \u003Cbr \/\u003E\u003Cbr \/\u003EThis show, entitled \u003Cem\u003ETh\u00e9\u00e2tre Expos\u00e9\u003C\/em\u003E, is a new experiment by the ATELIER-CREATION. I don\u0027t think it is designed to be repeated many times, rather the event is interesting in itself, and starting from there we will see how it develops. We are suggesting this idea more especially to: Marie-Jeanne Laurent, Paul Laurent, Alice Pieffort, Marc Roux, Daniel Biga, J.M. Costantino, F. Godard, A. Goursonnet, R. Glang, J.Y. Linsolas, Catherine Delserre, (and others). \u003Cbr \/\u003E\u003Cbr \/\u003EI will ask these people (whom I chose for various reasons, and notably in order to include different personalities) to provide a text that will be recorded, before setting up a space (probably a cube), and the whole, including the people, will be \u0022exhibited\u0022. \u003Cbr \/\u003E\u003Cbr \/\u003EThis will require a bit of collective work and individual work. \u003Cbr \/\u003E\u003Cbr \/\u003EThere will be no general rehearsal, except to place things quickly. The \u00ab exhibitors\u201d will probably be introduced as a group and one after the other. \u003Cbr \/\u003E\u003Cbr \/\u003EThe point of this work is twofold: \u003Cbr \/\u003E\u003Cbr \/\u003Efor the participants \u003Cbr \/\u003E\u003Cbr \/\u003Efor the \u201cvisitors\u201d\u003Cbr \/\u003E\u003Cbr \/\u003EThe relationship that is created will provide elements for a future experiment. \u003Cbr \/\u003E\u003Cbr \/\u003EThis \u201cunpolished \u201cliterature should unveil interesting aspects of our behavior. I haven\u0027t found the place yet, but I was thinking of a gymnasium, or a big empty hall, considering that we need a plain and relatively large space. \u003Cbr \/\u003E\u003Cbr \/\u003EI think a meeting would be useful, let\u0027s also say December 4, see document included. \u003Cbr \/\u003E\u003Cbr \/\u003EIn case some of you are unable to come, it doesn\u0027t matter, we will get in touch again. \u003Cbr \/\u003E\u003Cbr \/\u003EThe idea is a collective experiment, but individual interpretations. \u003Cbr \/\u003E\u003Cbr \/\u003EI\u0027m looking forward to meeting you soon.\u003C\/article\u003E\u003Caddress rel=\u0022author\u0022\u003EJean-Claude Bussi\u003C\/address\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n              \u003Csection class=\u0022field field-name-field-contexte-theorique field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003ETheoretical background\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item odd \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003EThe \u003Cem\u003ETh\u00e9\u00e2tre Expos\u00e9\u003C\/em\u003E and \u003Cem\u003EC\u00e9l\u00e9bral\u003C\/em\u003E are part of an important movement created around and by the CRIA (Center for Artistic Research and Interventions) in Nice approximately  from 1975 to 1985.\u003Cbr \/\u003E\u003Cbr \/\u003EThe CRIA produced an impressive number of shows and events in institutions (schools and hospitals), and participated in a great many social movements.\u003Cbr \/\u003E\u003Cbr \/\u003EWe must remember that the social climate was rather favorable to this sort of creation. These two types of creation were also inspired by an idea expressed by J.-C. Bussi, founder of the CRIA and creator of the \u003Cem\u003ETh\u00e9\u00e2tre-Expos\u00e9\u003C\/em\u003E and \u003Cem\u003EC\u00e9l\u00e9bral\u003C\/em\u003E :\u003Cem\u003E \u00abThere is something inside each one of us which resists alienation \u00bb.\u003Cbr \/\u003E\u003Cbr \/\u003E\u003C\/em\u003EGenerally performances by modern visual artists strive to belong to a history  of contemporary art, which has been a fantasy ever since Duchamp initiated the process (this is my opinion...). Therefore performances are often photographed, filmed, dated, included in catalogs in order to appear in the artist\u2019s curriculum and in his\/her \u003Cem\u003Ebook\u003C\/em\u003E.\u003Cbr \/\u003E\u003Cbr \/\u003EOur attempts included none of this. They were produced with \u0022bare hands\u0022 , in an improvisational spirit always akin to chaos, a sort of theatrical free jazz, directed only by the introspection of the actors, and completely safe in the company of the various subjectivities which the context brought together. \u003Cbr \/\u003E\u003Cbr \/\u003EBasic criteria: \u003Cbr \/\u003E\u003Cbr \/\u003EBetween 6 and 12 executants  \u201cjuxtaposed \u201cin the same action space, each executant being closed off inside his\/her own imagination and conversing with it and acting out situations. \u003Cbr \/\u003E the \u003Cem\u003ETh\u00e9\u00e2tre Expos\u00e9\u003C\/em\u003E is indoors, and lasts a limited time.\u003Cbr \/\u003E\u003Cbr \/\u003E the \u003Cem\u003EC\u00e9l\u00e9bral\u003C\/em\u003E is outdoors, and can last anywhere from three hours to two days. \u003Cbr \/\u003E\u003Cbr \/\u003EInter-acting between the executants is not recommended.\u003Cbr \/\u003E\u003Cbr \/\u003EThe dramatic progression is usually silent, without a text, based on the objects, costumes, situations, corporal and postural events; the main reference however is theatrical rather than visual. The 1960s \u003Cem\u003Ehappening\u003C\/em\u003E is a reference, stripped of its provocative aspect.\u003Cbr \/\u003E\u003Cbr \/\u003EThe vocabulary, the figures and styles, as well as the imagery, are a bit archaic, and there are no signs of modernity. Like slapdash rituals more or less thrown together, never to be completed.\u003Cbr \/\u003E\u003Cbr \/\u003EThe goal is an expressive self exhibition, usually without an audience.\u003Cbr \/\u003E Here one might quote J.-C. Bussi :\u003Cem\u003E \u00ab In this epic poem facing the sun, he is exhibiting the movements of his thoughts in a microscopic universe that he himself has established.\u0022\u003Cbr \/\u003E\u003Cbr \/\u003E\u003C\/em\u003ESeveral events in this style were produced between 1978 and 1983; here is the list: \u003Cbr \/\u003E\u003Cbr \/\u003E\u003Cem\u003ETh\u00e9\u00e2tre Expos\u00e9\u003C\/em\u003E MJC Gorbella 1978\u003Cbr \/\u003E\u003Cem\u003EMasques (Masks) \u003C\/em\u003E Valbonne chez \u00c9mile de la Tour 1979\u003Cbr \/\u003E\u003Cem\u003ELes Valises\u003C\/em\u003E (\u003Cem\u003ESuitcases\u003C\/em\u003E) Sainte Marguerite Nice 1979\u003Cbr \/\u003E\u003Cem\u003ELes Objets de la F\u00e9licit\u00e9\u003C\/em\u003E  (\u003Cem\u003EObjects of Happiness\u003C\/em\u003E) Beuil mountain 1980\u003Cbr \/\u003E\u003Cem\u003EInterventions (sans titre)\u003C\/em\u003E (\u003Cem\u003EInterventions (Untitled\u003C\/em\u003E)) Beuil village 1981\u003Cbr \/\u003E\u003Cem\u003EC\u00e9l\u00e9bral\u003C\/em\u003E Sanguini\u00e8re Esteng forest 1982\u003Cbr \/\u003E\u003Cem\u003EC\u00e9l\u00e9bral\u003C\/em\u003E Mont Agel 1983\u003Cbr \/\u003E\u003Cbr \/\u003E[Text written in 2012, Editor\u2019s note]\u003C\/article\u003E\u003Caddress rel=\u0022author\u0022\u003EPhilippe Chartron\u003C\/address\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n      \n\n\n\n    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EImprim\u00e9\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EAffiche\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EImprim\u00e9\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003ETexte d\u0026#039;intention\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E    \t\u003Carticle class=\u0022node-document\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments\u003C\/div\u003E\n    \u003Csection class=\u0022field field-name-field-type field-type-list-text field-label-inline clearfix\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EType\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EImprim\u00e9\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-technique-description field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETechnique description r\u00e9f\u00e9rence\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EDocument pr\u00e9paratoire\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \u003C\/article\u003E  \n\u003C\/article\u003E","nid":"2998"}