Hier, j’ai fait un coucou à mon oiseau rare favori …

"Mais quel oiseau rare?", m’a répondu Wubik.

Lui ai dit qu’il n’était pas un aigle criard immature,

ni un gobe mouche nain,

ni un vanneau sociable,

ni un goéland bourgmestre,

ni un bécasseau semi palmé,

mais plutôt un chevalier stagnatile,

ou un pouillot à grands sourcils,

ou plus poétique encore, une buse pattue juvénile !!!!!

Et lui m’a soumis qu’il n’était qu’un connard sauvage…

Tu parles d’une poésie ! Et dans la rareté, on fait mieux.

Cath est venue surenchérir en le destinant à être corbeau.

Il acquiesse, ajoutant qu’il aime.

Alors aujourd’hui je suis allée saluer mon lakonik Raven…

Vous, vous seriez quel oiseau rare ?

concours du plus bel avatar tireur de langue !!!!

Suis sûre que le petit chat de Christian va gagner ...

(4 chatons à donner fin juin en Ile-de-France - cf blog de Christian Zéphyr )

http://fr.360.yahoo.com/profile-7Oz8m.MlaaP0TlObPTjRi4lkATN4q4A-?cq=1

Laisser moi un commentaire que nous puissions voir toutes vos bobines et propositions...

Antigone

http://www.dailymotion.com/video/x432zl_antigone-latalante_creation

L’Atalante Theatre. Paris 2008. Trailer

http://www.compagnierl.com/

Still on tour at the end of this season – Antigone by Sophocles. May 5th and 6th in Suresnes ; May 13th-23rd in Lyon (Théâtre des Célestins) ; May 26th in Laon; and July 20th at the Sarlat Festival…

Eteoclus and Polyneices, Antigone’s brothers and Oedipus’s sons have died at war, and Creon has been crowned king of Thebes. He is preparing an official funeral for Eteoclus, who died defending the City, but forbids that the slightest tribute be paid to Polyneices, whom he considers a traitor to his homeland.

Antigone rises up against her father’s authority and is willing to have her banished brother buried.

In a grave-like darkness, the show remains pure and simple, playing on lights and shadows, feminine and masculine tones…

ANTIGONE by Sophocles – directed by René Loyon – with a new translation by Florence Dupont (L’Arche Editions)

With René Loyon, Marie Delmarès, Yedwart Ingey, Jacques Brücher, Claire Puygrenier et Adrien Popineau (or Igor Mendjisky)

Dramaturgy : Anne Paschetta, Scenography assistant: Isabelle Rousseau,

Costumes : Nathalie Martella, Lights: Laurent Castaingt,

Sound: Françoise Marchesseau, Stage Management : François Sinapi, General Administration and Production : Marie-France Pernin, Production assistant : Marie Astrid Scano, Tour manager : Didier Moreau, Public Relations : Céline Landais,

Press : Nicole Czarniak, Accounting : Liliane Péan.

Presentation

Among the thousand and one compromises, accomodations, adaptations, arrangements, renunciations, her name suspends the smooth running of things, for a moment only – Antigone.

She is no martyr, no saint. She is not revolted but weaves till death the « threads » of one apparently simple thing : she won’t bear what is unbearable and hence gets closer to the truth of her desire, or « ethics of desire » to quote Jacques Lacan.

In that respect, Antigone is inflexible.

She’s abslolutely determined to do what she cannot avoid to do, according to her ethics.

She condemns herself to death – walking fearlessly towards the Palace’s steps, under the dumbstruck eyes of Thebes’s citizens 2500 years ago and ours today.

She will die without a shudder but have everything tremble around her, in the past and present: the leader who claimed to have his people’s best interest at heart, the idea of an everlasting present and of a life where the loving memory of the dead is gone.

Press quotes

With a brand new translation by Florence Dupont, René Loyon’s Antigone brings us in the heart of what is essential in Sophocles: conflicting ideas in the realm of social ethics.

Loyon uses the bareness of the Atalante Theatre, creating nothing but an elaborated play on lights and shadows (by Laurent Castaingt) where the actors move in casual and sober costumes (by Nathalie Martella) as if their characters were timeless.

It is all about the restrained ardour of speaking on stage, and Marie Delmarès is excellent as an inflexible Antigone whose contained determination and anger is a foil to Loyon’s brilliant Creon who keeps justifying power per se. The ancestral duet, free of any pathos, is all the more grave and powerful thanks to the performances of Claire Puygrenier (Ismene and Eurydice), Yedwart Ingey (the Guard, Tiresias, the Messenger), Igor Mendjisky (Haemon) and Jacques Brücher (The Coryphaeus and the Chorus).

Jean-Pierre Léonardini/L’Humanité

René Loyon has chosen naturalness and simplicity. He tells the story as a tale of the present. How right he is to act the role of Creon himself – like every director staging himself, he enlightens all the subtleties of the text.

The political issues have rarely been clearer.

By his side Yedwart Ingey, (Tiresias, The Guard, the Messenger),

Claire Puygrenier (Ismene et Eurydice), Marie Delmarès (Antigone) and Jacques Brücher as the Chorus and Choryphaeus.

Antigone has been staged in many ways, but this show is undoubtedly one of the best versions ever.

Jacques Nerson/Le Nouvel Observateur

In the cosy Atalante Theatre, how fresh, how simple, how true and moving is this work of art dating back from 441 AD !

Florence Dupont’s new translation of Sophocles’s Antigone is surprisingly simple, with the words of men and women of the ancient past who could have lived yesterday… This is what great literature is all about ; this is what theatre is all about.

Such an interesting representation as it shows the very pureness of theatre.

Armelle Héliot/Le Figaro, Le Quotidien du Médecin

René Loyon returns to Sophocles with Florence Dupont’s clear translation of Antigone, which admirably renders the energy and vigour of the poet’s verses. Simplicity is the key to René Loyon’s work and he is right : what is essential is to hear the legend.

The play takes place in a vault, a close space teeming with contradictions: lights and shadows, feminine and masculine spheres…

René Loyon himself is a loyal Creon and Marie Delmares a very strong Antigone.

Marion Thébaud/Le Figaroscope.

The actor’s work is in line with today’s dramatic trend of accessibility, and the Creon embodied by René Loyon is as cold and cynical as the demagogues of our times. An amazing clone of today’s politicians, using the democrats’ passions to establish his despotic whims… In this respect, René Loyon manages to adapt the ancient text « to our contemporary sensitivity».

The statesman embodied by René Loyon has a frightening and reptile-like presence, a Leviathan Creon devouring his children before the eyes of his people. All these men prefer security to freedom. Modernizing Sophocles with a touch of Hobbes is pretty interesting.

Catherine Robert/La Terrasse

René Loyon gives a convincing performance, as a trapped and confined Creon whose power is overwhelming, and who wouldn’t listen to his own fears. The Guard and Tiresias are performed by hilarious Yedwart Ingey and the Chorus perfectly embodied by Jacques Brücher alone. René Loyon, who also staged the play, has taken the best advantage of the small space offered by the Atalante Theatre. The actors address the citizens and the Chorus, and Creon even invades their tiers, as if part of the audience. The proximity of the actors, a minimal setting, contemporary costumes and a sober but efficient use of lights pay such a great tribute to Sophocles’s text. It all becomes physical, almost material.

Jean-Luc Bertet /Le Journal du Dimanche

In this staging, it is Creon (René Loyon is excellent) who is at the centre -

a mature and self-confident leader who believes in the public good and human laws, and will endure the tragic consequences of being all powerful. However, after the litany of deaths, he will gradually turn wise and human. All the actors convey a controlled intensity and Jacques Brücher is such a great Choryphaeus as his words are all about the origins of humanity, the birth of what is Sacred and Evil.

Sylviane Bernard-Gresh/Télérama sortir

The show is centered on the political stance of Antigone. At a time when public affairs were exclusively masculine, the play explores the relationships between men and women and evokes the generational conflict between father and son (brilliant Adrien Popineau as Haemon, heir to the throne and Antigone’s fiancé).

René Loyon questions here the legitimacy of sacred traditions while the first City laws are established.

Indeed, Sophocles warned his contemporaries when Athens lost her religious foundations to the benefit of a state increasingly centralised and powerful.

In his play, irreconcilable forces clash – and contradictions are at stake.

And in refusing, Antigone symbolically articulates the individual and the collective, the essence of Greek tragedy.

Jacques Brücher plays both the Chorus and the Coryphaeus, and Creon addresses the public several times. The audience embodies the people paralysed with fear, reduced to silence under the yoke of the king. After the play, you’ll definitely measure the risks of democratic corruption.

With very simple costumes and a minimal setting (one table and just a few chairs), René Loyon focuses on what seems essential: the crucial role of dialogue in the fight against violence, the collective work of active thought.

Hence the modernity of his Antigone, an mythical icon that comes closer to us. In this sober and efficient version, Florence Dupont’s new translation also contributes to clarify the play and enhance the poetic power of the text.

Léna Martinelli/Les Trois coups/ Le Monde

What a successful challenge – what a powerful message in this sober staging with no artificial effects. René Loyon preferred a restrained mise-en-scène, where the audience is plunged, literally, in the very heart of the human question. The actors are maintained in a breathless state of tension, which is more than relevant when you read the play. Thanks to his excellent interpretation (he also plays the role of Creon), René Loyon creates a complex being, surprisingly modern in his fragility and his will to control everything.

Emmanuelle Scali/Théâtrorama

In the title role, the young Marie Delmarès, with her Saint-John/Jane-Seberg-like hairdo, her unfailing determination and her unquenchable rage, is simply wonderful.

Nicolas Brulebois/Froggydelight

Sophocles’s words are 2500 years old. They come from a dead world which torments are still affecting us. Doest that mean that Antigone should be acted or staged as something ancient or modern? Here is the trap – and dilemma. Antigone should just be performed. And René Loyon did such a great job with his purged yet unabridged version, with no cuts, no facilities, no gadgets. With a minimal setting, sober costumes, concentrated lights. Bereft of temporal references... The play is all the sharper, with a kind of pure beauty imposing itself little by little as we progressively get used to this method. Conventional minds may find shocking the lively and casual translation by Florence Dupont. This would be a huge mistake. The worst anachronism would be to have Sophocles speak in a nineteenth-century formal French. This Antigone is not in Ancient Greek, not in front of its original audience. So why not use contemporary and direct words, which make sense in the present and would also make sense if we were Sophocles’ contemporaneous audience? This is due to the proximity of the actors, the fact that the Chorus invites us to witness the whole tragedy and asks us to take a stand, as if we were the citizens of Thebes.

Guy/Un soir ou l’autre

René Loyon’s mise-en-scène is nothing but remarkable. The actors are perfectly directed in a timeless show, with no vague updating or fake historicity. And the tragedy exposes both the misfortune and its remedy: the nobility of spirit. What is Antigone but an archetype for resistance?

Pierre David/La Réforme

In a relevant play on light and darkness, with no costumes and just a few chairs for a setting, René Loyon has staged a wonderful Greek tragedy, stripped of any unnecessary pathos so that we can hear the modernity of the text. And in spite of the disaster caused by Creon the tyrant, Democracy will rise from its ashes.

Yonnel Liégeois/La Nouvelle Vie Ouvrière

First of all, this Antigone is worth it for Florence Dupont’s contemporary and contrasting translation. A modernized tragedy is such a rare thing. Not to mention the discourse on the violence of power and the impossibility of responding by another power. René Loyon knows how to highlight the text, beyond any artificial staging. His Antigone is exceptional, true and vivid.

Anne Quentin/CNDP, Actualité Scènes

With real simplicity, René Loyon has directed this complex play while emphasizing its political dimension. Marie Delmarès is a touching, distressed and determined Antigone. She expresses the inner affliction of a young girl who will never recover from the family tragedy.

Corinne Denailles/Pariscope

This new translation modernizes the masterpiece while remaining faithful to its essential nature and humanity. René Loyon’s Antigone is sober – the bareness of the stage makes it possible for the audience’s imagination to wander and for the intensity of the text to be heard. In this fine and striking performance, the words are reverberating and vibrating. We can hear the poetic revolt of the rebellious heroine, the moving and sincere fears of Ismene and the violence of Creon’s diktat. All the actors give an undeniable strong dimension to this substantial play.

Rémi Vaugeois/Visioscène

Florence Dupont’s translation modernizes the play and conveys a timeless dimension which increases the emotional dimension of the play. René Loyon’s Antigone has modern costumes, no setting and a simple crepuscular light that emphasize its universality. The mythological references are here, but the text is free of any declamatory pathos, referring to essential issues. Creon, (played by René Loyon) is not simply a tyrant – through his pain, he reaches back to the roots of humanity.

Antigone (a luminous Marie Delmarès) revolts against her fate but remains faithful to her sacred duty. The actors are just perfect, and in my opinion, you really should go and see this play.

Micheline Rousselet/SNES Journal en ligne

René Loyon’s Antigone is sober, with contemporary costumes and just a few chairs. Jacques Brücher plays both the Chorus and the Coryphaeus, while Creon and Antigone address a Civic Assembly made of the audience of the Atalante Theatre. The effective lighting allows us to feel the intensity of the situations; the constant references to Zeus and other Gods are quite relevant in this timeless context; and as for the actors playing these powerful roles, they are just perfect in their intense and deep performances.

Jacques Portes/Historien et Géographe

The very core of the text is expressed by an exceptionally smart mise-en-scène where the audience itself is the Tragic Chorus. The text is tangible but never explains these moving words which rise from the past but are still extremely powerful today.

Jean-Baptiste Viaud/Paris evous

A René Loyon Theatre Company Production

Regulated by the French Cultural Department (Drac Ile-de-France) and the Région Ile-de-France

City of Paris Creation support

Artistic creation support : the JTN (Young National Theatre) and the City of Asnieres CFA (Apprentice Formation Center)

Co-production : the Atalante Theatre

In collaboration with the Arche Editions

Thanks to Jean Marc Wormser, Christian Jehanin, Michèle Le Guen, Christine Friedel, Laurence Campet, Stéphane Deschamps, Alain Alexis Barsacq, Greg.

Antigone has already been played in 2008-2009 in the Atalante Theatre in Paris ( 33 + 24 representations), Rethel (1), Nancy (4), Troyes (1), Dijon (2), Fontenay aux Roses (1), St Germain en Laye (1), Thouars (1), Guyancourt (2), Orléans (1), Biarritz (2), Avignon (1)

The show will be on tour from January to June 2010 in Herblay (1), Romans (3), Vauvert (1), Rungis (2), Garches (1), Les Lilas (1), St Dié des Vosges (1), Le Perreux sur Marne (3), Provins (2), Lille (10), Fort de France Martinique, +++…

avec en guest la superbe Guinness Dream...

Et hop Ubik a monté son nouveau groupe de rock !

Vous secouez le tout et vous obtenez un joyeux mélange punk

frisant le bonheur pur , un son australobritish avec une pointe d'irlandais

merde il manque new york mais surtout surtout les accents graves de Detroit !!!!!!

un melt entre :

http://www.youtube.com/watch?v=WaOraUh1AyM

http://www.youtube.com/watch?v=EZEYoxgqtUg

Cath à la batterie (elle aime battre)

Wubik caché derrière sa gratte et aux compos

Mf, alias Guinness Dream, hurlant comme Rob Younger au chant

Nous cherchons un bassiste. Diana ? Anne K ? Christian ?

Videos de travail en ligne pour les premières répèt...

Premier concert - la Mécanique ondulatoire, Paris 11e

en première partie des officiels New Christs le 10 juin prochain...