Je me suis perdu ou Labyrinthe-Portrait (1988)
I lost myself or Labyrinthe-portrait
A hörspiel of Luc Ferrari
With the participation of Colette Fellous and according to her novel: Calypso (Denoël Edition)
Realized by Luc Ferrari
With Brunhild Meyer, Edouard Aléa, Georges Sebbag
The texts are spoken by Hanna Schygulla and Jean-Baptiste Malartre
The music is played by David Rueff (saxophone), Denis Cunio and Michel Maurer (piano), Christian Nicolas (percussion).
And directed by Pablo Cueco.
Production of the SWF Baden-Baden and HR Frankfurt
A realization of the MUSE EN CIRCUIT
In connection with the sounds in « Je me suis perdu ou Labyrinthe –Portrait » (I lost myself or Labyrinth-Portrait).
I should speak about the sounds.
………. Yes, the sounds ………..
The first sound I found even before knowing Calypso, the novel of Colette Fellous, and it is a rather curious story. We have at the MUSE en Circuit a sick That’s what happened to me one day of need, it remained dumb. While insisting (there are 99 memories), I found in a recess a vague memory of sound, of which I finally could grope all the keys and the buttons of the synthesizer, the lapse of memory I could save.
Sometimes rodent animal sometimes sand squealing, that comes again several times as a theme.
I called it: the mysterious sound of the lost memory.
I live in Paris a very calm street. The window of my office, exposed to the south, gives on a garden, which is that of an old hotel that the owners decided to increase and to modernize. Insane, that noise the works made!
Thus passed the spring and the summer 87 and it was precisely the period during which I recorded; which hell! Several times I believed that I was going to topple over.
Colette located her novel in a hotel, the Calypso hotel, and this Hörspiel starts with a large percussion seized in the noises of construction.
It is a very violent noise, a rape perhaps, as if that were the only means of entering time and the memory.
This sound is called: percussive noise of the hotel in the heat of the summer.
In the environment of this work I made the first discussion with Colette, concerning Calypso at the same time hotel, dance, hiding-place. I used two simultaneous talks, one with a close voice and the other with a distant voice. As the present between which’s would be seen memories.
This process is called: in the holes of close I see your horizon.
One day in the bathroom of a hotel in Italy, I fell on the head. I became very wrong, but the noise that I heard interested me so much that it prevented me from losing consciousness.
It was in September and returned to Paris, I was then in full in preparation, I tried to invent a sound, which resembles that I had heard.
I said why not, why should I not put it since it happened. This unvoiced and short sound punctuates the beginning and the end of the Hörspiel.
I called it: the why not of the blow on my head.
I thought that it was important to benefit from all that happened randomly in the daily life and that this could find a symbolic sense in the composition, even hidden or little definite.
I called these associations, which are rather usual for me: between the two hills, one sees the bell-tower of the village.
Baden-Baden; a plane passed. Tearing! This noise frightens, but one could imagine that it was the plane for the Caribbean.
I transformed it so that it starts true and that it finishes invented. I used it several times when the places changed. I felt rich, I owned my private aircraft. In the last one everybody embarked. But as I had taken the best before, that which remained was not amazing.
This sound is called: do not make me violence, I am still small.
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