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inTERREdépendant - interEARTHmingled. part II

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Published on May 11, 2011

Bande annonce - Trailer.
Performance filmée - Video art performance. 2011. 7 mn.
Extraitde: "Les alliances terrestres" de Gilles Matte
English follow
La seconde performance concrétise dans un cérémonial le rituel d'identification. Le protagoniste, unique cette fois, renouant avec la millénaire magie protectrice et créatrice du masque, s'enduit d'argile et peint sur son corps la double vue de l'esprit; celle qui permet de voir et de parler, de ressentir, avec l'écorce mobile du corps. Dans cette forêt d'arbres recousus, l'homme est un arbre qui respire. Ou veut être un arbre qui respire... La joie naïve de jeune fauve qui envahit le chaman, de s'être lui-même sculpté totem vivant, proclamant que l'arbre est de sa parenté, se heurte pourtant continuellement à son double narcissique qui réclame à plaisir sa part d'ego. La gestuelle mimétique et phénoméno-magicologique de la danse, avec la quelle il réussit parfois à s'identifier à ses frères ligneux, semble lui permettre, non pas de conjurer les violences du sang qui tordent de douleur et d'inquiétude le masque en son éphémérité, mais plutôt d'accepter, en toute redevance d'ego, son humble rôle d'humus régénérateur. À la fin, la vision du chaman, celle qu'il a accepté de recevoir, s'inquiète de plus ample que vie humaine et questionne la venue de ce grand vent désertifiant qui le couche au sol. Lui. Et sa parenté.

The protagonist is alone this time; he reconnects with the age-old protective and creative magic of the mask, he covers his body with clay and paints it with the twin views of his spirit that allows sight, speech and feeling with the mobile bark of his body. In this forest of re-stitched trees, man is a breathing tree. Or, he wants to be one...The naïve joy of a young wildcat that penetrates the shaman who sculpted himself into a living totem claims the tree as his relative, though he constantly collides with his narcissistic double who keeps demanding his share of ego. The mimetic and phenomeno-magicological movements of his dance, in which he sometimes manages to identify himself with his wooden brothers, seem to allow him, by paying his dues to ego, to accept his humble role as regenerating humus rather than to ward off the blood violence that with pain and uneasiness wring out the mask in all its ethereality. In the end, the vision of the shaman, the one that he accepted to receive, worries about more than human life, and questions the coming of this strong drying wind which leaves him prone on the ground. Himself. And his relatives.

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