In 2020 we composed the soundtrack of " Je me suis assise et j'ai gobé le temps ", written by Laurent Cazanave and performed by his Parisian company La Passée.
The show will be performed on 2, 3 and 4 March 21 at Théâtre 14 in Paris, at the Lycée Guillaume Tirel on 8 March 21
and at the Lycée Yvon Bourges Dinard 10 June 21.
More info here and there.
About the play
When you are 30 years old and you are in a couple, the question of a child comes up. Everyone has his or her own opinion on the question, on education, on the name, etc. Once the child has arrived, gaps open up and reality takes over. How to accept a new person in an intimate group. And how does he live his arrival in this world? How does he see these new faces that he must love. How does one learn to love a stranger. In this text I want to ask all these questions. During a family lunch, all the questions that are kept silent will be confronted in the heads of the four characters. It is important for me to show these unsaid things. I want to make a theater of fleeting emotion, of personal feeling. I want each spectator to say to themselves: "Oh yes, that's what I experienced, it's me and at the same time someone else. So it is universal? Yet it's different for everyone. It is worth talking about it together. I want to work on this muted and daily violence, on the clichés that the world imposes on us. We have all been told how to react to this or that situation. We are nourished by our personal family history. But how to find one's place in a hierarchical family. How can 3 different generations cohabit and communicate together?
A more performative form will be carried out with two hotel high schools (Guillaume Tirel Paris, Yvon Bourges Dinard) in order to totally include the kitchen in the show.
During our first discussions with Laurent, it immediately seemed appropriate to organise a creative residency. So we had Laurent and his team come to Lyon and stay in our favourite studio for 5 days.
This residency was a kind of creative sprint. We had set ourselves the goal of having sketched out the main lines of each of the compositions in the piece.
The two actors in Laurent's team would allow us to immerse ourselves in the text through reading sessions. It was also a very good way to test our musical sketches directly.
After defining together the moments that were going to be set to music and after a reading of the whole play, we started to discuss and then very quickly to test, live.
Investing in the studio for 5 days allowed us to install all the necessary equipment and to have permanent access to it. So we were able to record all our ideas with great spontaneity.
At the end of this sprint, we had achieved our goal and had more than just sketches. The following months would allow us to refine the compositions, redo some of the recordings, mix and finalise the project.
Before the Paris premiere, we joined the team on set to help the sound engineer calibrate the music for the stage.