'' Elise at the breath of angels | A history of performance art on the Riviera from 1951 until now

Elise at the breath of angels

Series: 
Etude de caractère
Creator: 
Elisabeth Morcellet
Performer: 
Elisabeth Morcellet
Producer: 
Elisabeth Morcellet
Theoretical background: 
hese actions are part of a work on the filming of towns such as Venice, Paris, Nay, Piotrkow, , Nitray, Briare-Le-Canal, Chenonceau, places that all hosted "official" artistic interventions in the form of festivals, exhibitions, conferences ...
These are sets of postcards that are sought after, close to the tourist cliché. Places where everyone would like to stop, pose, and intake memory. These picturesque places, with their pleasant, sweet, green spaces, reconnect with nature and history. Another era, of obsolete romanticism. Easy beauty. These places of wandering, love reveries, privacy and comfort in the heart of turmoil will become scenes of wild emergences. The delicate, light, slow travelling of white ladies, of green ladies, of evanescent sirens, fairies, nymphs, and an old fashioned variety of silent, dissolving and eerie women will cross the city. Reanimated fantasies unsettling passers-by and drivers, left baffled and dreamy when the red light has already turned green ... These choreographies, these movements awaken the comatose legends which innervate, with a large technological backup, the modern times games, fictions and scenarios that go along every imaginary era.
Occurence: 
Starting date: 
1998
2002/6
Topology: 
sea side
Adress: 
Nice
France

ETUDE DE CARACTERE XXI : ELISE AU SOUFFLE DES ANGES

Synopsis / Description: 
vidéo couleur montée
Performances: 
Elise at the breath of angels
Objets: 

vêtements robes portées

Technique description référence: 
vêtements robes portées

première caméra huit Sony Pro utilisée jusque en 2002

Technique description référence: 
première caméra huit Sony Pro utilisée jusque en 2002

chaussures portées taille 39

Technique description référence: 
chaussures portées taille 39

foulard blanc utilisé Et tous les éléments visibles dans l’image : paysage, monument, objets, architecture, animaux , végétaux….

Technique description référence: 
foulard blanc utilisé Et tous les éléments visibles dans l’image : paysage, monument, objets, architecture, animaux , végétaux….
Documents: 

notes diverses pour tournages : repérages...

Type: 
Manuscrit
Technique description référence: 
notes diverses pour tournages : repérages...
MORCEL

notes pour montages : voir détail rushes et séquences

Type: 
Manuscrit
Technique description référence: 
notes pour montages : voir détail rushes et séquences
MORCEL
Description: 
WILD AND LONELY ACTION * / DIRECTIONS
* Any coaching creates a distraction and a distanciation, too much reflection and doubt barring action. Too many comments. Waste of time. Nonobservance of the right moment. One look too many that would distort the encounter with the others, the nameless. That would establish a benchmark. It would be an easily attackable cell. The fellow who would expect the action to end would immediately be solicited by the outside, assailed by whys and hows. Actions must be fully assumed by the self. Folly or absurdity, whatever the judgement, action must be.

1. Starting with a few lightweight and unobtrusive clothing, or proceed to somehow camouflage, until the shooting up, the garish costumes (wedding dress etc..). Also think about the survival of the body (water and biscuits, just in case). Take a video camera and a discreet base, or a camera. Walk, ride a bike, take the bus or the underground.
2. Look for places, stop. Watch. Feel the space. Check the possibilities. Set the camera or its base on a bench, a staircase, any suitable stand. Stabilize. Frame. Wait until the image disappears from the flow of the city with its passers-by, its walkers, its children and itsdogs ... but the surprising visitor may be interesting. A priori there should be no living soul in the shooting. Start recording. Run to the starting position of the desired movement. Or start towards the supposedly “in” angle, and directly do the "ghost dance". Back to the camera. Caution any shot can be interesting. It is better to see wider. Because there are shots that are sometimes completely taken out of focus. It is good to renew twice and also change the frames and perspectives. Do not forget the final cut. Have plans for cuts. Shoot peripheral details. Think about link shots too. Things will happen spontaneously and will efficiently be surprising. There again the picture plays with the potential of an uncontrolled movement that will

interfere.Predict. Anticipate. Throughout the action, keep an eye on the material and stay preferably around it to prevent a possible theft. It is better to stay within a reasonable distance of the material.
Back to the camera, it's worth checking the recording a few seconds. Do not stay around too long to avoid questions, comments and passers-by that are time-consuming leg loops and break the feeling.No time to be wasted since the sky and these climate changes could break the cinematic moods.Incidentally, try different light exposures. Do what can be done one day. And continue the next day. This may take a week with these decisions to go in a different area, neighborhood, every time. Do not think about the final film sequence. The "narrative" work, the link, will be found later.

COMMENT
What is good is to play, to fly, to quickly capture. To be there at the right time. Not too much premeditation it overtires, it stops energy. Compete. Go there alone against the unknown. The others will be there, are there. We must fight against all types of shyness. It should be under the gaze of others and without parade. Without formal framework. Behavior should be assumed without the traditional artistic net. Performance plays on surprise, on the anachronism, the unreality of the offset situation. Generous action that gives to anyone who wants to see, to take, who is willing. Aggressive behavior is unusual. Children are always amazed. Adults indulge in the charm. Sweetness can’t harm. That is life’s gift. It gives beauty to the heart. It happens. It goes.
It's simple. It's an energy that passes here and there. It's free. Fruits of life in the box, picked.
All that’s left to do is the making of the jam at home.

ASSEMBLY
Nothing special, homemade. Thge video can be a little boring but the seam to be mined appears and we know how it operates. A composition of colours, of lines that coordinate and take symbolic meanings. We find the threads, they are drawn, allowing easy developments.

I like this overall experience. I plan to do it in Edinburgh next time I go.
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | © Elisabeth Morcellet - ADAGP, Paris 2012 | photographie : © DR | courtesy de l'artiste
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
Elisabeth Morcellet | photographie de la performance "Élise au souffle des anges", 1998 | photographie : © DR | courtesy Elisabeth Morcellet
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