{"id":4401,"date":"2024-05-10T15:07:40","date_gmt":"2024-05-10T15:07:40","guid":{"rendered":"https:\/\/theatreagora.ca\/?post_type=agoraevent&p=4401"},"modified":"2024-05-28T16:08:17","modified_gmt":"2024-05-28T16:08:17","slug":"seances-paralleles-iii-communications","status":"publish","type":"agoraevent","link":"https:\/\/theatreagora.ca\/fr\/agoraevent\/seances-paralleles-iii-communications\/","title":{"rendered":"S\u00e9ances parall\u00e8les III – Communications"},"content":{"rendered":"\n

Guillaume Dupetit<\/strong><\/p>\n\n\n\n

De l\u2019\u00e9coute \u00e0 la sp\u00e9culation sonore : vers un nouveau rapport au monde<\/strong><\/em><\/p>\n\n\n\n

En cherchant \u00e0 proposer un rapport au monde plus sensoriel, incarn\u00e9 et immersif au-del\u00e0 de nos habitudes de repr\u00e9sentation, nous centrerons cette communication sur l’\u00e9coute environnementale et les fictions soniques, comme une nouvelle fa\u00e7on de percevoir et d’explorer notre relation avec l\u2019environnement par l\u2019\u00e9coute et la cr\u00e9ation sonore. L\u2019\u00e9coute environnementale incite \u00e0 porter attention sur des \u00e9l\u00e9ments enfouis, parfois perdus dans la complexit\u00e9 des paysages sonores urbains et pose le d\u00e9fi de retrouver ces informations que notre audition peut d\u00e9coder de notre environnement auditif. Le projet que nous pr\u00e9senterons au cours de cette communication est constitu\u00e9 de plusieurs \u00e9tapes successives mettant en dialogue recherche, cr\u00e9ation et enseignement. <\/p>\n\n\n\n

Au cours d\u2019une balade sensible sur le th\u00e8me de “la ville trop chaude\u201d, nous avons collect\u00e9 des mat\u00e9riaux sonores ainsi que des r\u00e9flexions des participants t\u00e9moignant de leurs sensations dans les environnements travers\u00e9s. Ces mat\u00e9riaux nous ont permis de mettre en relation exp\u00e9rience corporelle, ressenti intuitif mais aussi codification culturelle autour des questions \u00e9cologiques. Les enregistrements ont ensuite \u00e9t\u00e9 trait\u00e9s et sc\u00e9naris\u00e9s avec des \u00e9tudiants en arts et design sonores afin de cr\u00e9er de nouveau paysages sonores et d\u2019\u00e9tablir un dialogue entre la perception du paysage actuel et des sp\u00e9culations sonores imagin\u00e9es. Ces fictions soniques, telles que l\u2019on peut alors les appeler, pourront enfin \u00eatre utilis\u00e9es pour servir de support \u00e0 de prochaines balades et manifestations sonores performatives visant \u00e0 transformer notre perception de l’espace et de la r\u00e9alit\u00e9, par des exp\u00e9riences sonores centr\u00e9es sur un discours entre \u00e9cologie, fiction et perception.<\/p>\n\n\n\n

Bio<\/strong> : Guillaume Dupetit est enseignant-chercheur \u00e0 l’universit\u00e9 Gustave Eiffel, responsable de la licence Musique et M\u00e9tiers du Son. Ses recherches actuelles portent sur les liens entre musique, technologies et univers (science) fictionnels, c’est ainsi qu’il int\u00e8gre le programme de recherche pluridisciplinaire PARVIS (Paroles de Villes – imaginaires futuristes urbains) en 2019. Depuis, il travaille sur la notion de fictions soniques tant dans une perspective de recherche que de cr\u00e9ation.<\/p>\n\n\n\n

Erika leblanc Belval <\/strong><\/p>\n\n\n\n

Le pistage sonore comme mani\u00e8re de mesurer l\u2019engagement du spectatorat <\/em><\/strong><\/p>\n\n\n\n

S\u2019inscrivant \u00e0 la suite de mon article \u00ab Marcher avec Okinum <\/em>\u00bb <\/em>publi\u00e9 dans le cahier ReMix \u00ab De la possibilit\u00e9 de nos cohabitations \u00bb (2022), je propose de r\u00e9fl\u00e9chir l\u2019exp\u00e9rience d\u2019\u00e9coute des adaptations th\u00e9\u00e2trales des deux pi\u00e8ces en baladodiffusion comme une mani\u00e8re d\u2019entrer en interrelation avec le vivant, et, plus largement, avec l\u2019autre-qu\u2019humain. Cette r\u00e9flexion aura fait l\u2019objet du troisi\u00e8me chapitre de mon m\u00e9moire Exp\u00e9rience spectatorielle, de lecture et d\u2019\u00e9coute des pi\u00e8ces <\/em>J\u2019aime Hydro (2019) de Christine Beaulieu et <\/em>Okinum (2020) d\u2019\u00c9milie Monnet<\/em>. <\/em>\u00c0 la mani\u00e8re d\u2019un laboratoire, je souhaite pr\u00e9senter les r\u00e9sultats de ma recherche, mais surtout mettre en lumi\u00e8re la d\u00e9marche r\u00e9flexive que j\u2019ai utilis\u00e9 dans le cadre de mon m\u00e9moire. En effet, afin d\u2019\u00e9tudier la notion immersive du balado (Cyr, 2015, 2018, 2020) et afin de penser l\u2019engagement du spectatorat (Aventin, 2015), j\u2019ai r\u00e9alis\u00e9 des \u00e9coutes des pi\u00e8ces en format balado dans diff\u00e9rents milieux et j\u2019ai r\u00e9dig\u00e9 des journaux d\u2019\u00e9coute pour mesurer mon engagement \u00e0 la fois physique, cognitif et \u00e9motionnel des \u0153uvres dans une approche autoethnographique (Ellis et Bochner, 2011; Rondeau, 2011; Fortin et Houssa; 2012, Cyr, 2015). Des fragments de ces journaux d\u2019\u00e9coute s\u2019entrelacent \u00e0 ma recherche th\u00e9orique. En adoptant une posture interpr\u00e9tative somesth\u00e9sique (Shusterman et Rollet, 2011 ; Cyr, 2018, 2020), je place mon corps au seuil de l\u2019\u0153uvre et du monde. Cette m\u00e9thode que j\u2019appelle \u00ab pistage sonore \u00bb (Leblanc-Belval, 2022) est inspir\u00e9e des travaux de Baptiste Morizot (2018, 2020), de Claire Pich\u00e9 en \u00e9cologie sonore et en ambiophonie (2007, 2009), des soundwalks<\/em> d\u2019Hilder Westerkamp (2006) et des recherches en dramaturgies sonores de Jean-Paul Qu\u00e9innec (2018, 2019) Plus largement, je me pencherai sur la fa\u00e7on dont les pi\u00e8ces abordent des enjeux environnementaux gr\u00e2ce aux recherches de Julie Sermon (2017, 2018 et 2019).<\/p>\n\n\n\n

Bio : <\/strong>Erika Leblanc-Belval est candidate \u00e0 la ma\u00eetrise en \u00e9tudes litt\u00e9raires \u00e0 l’Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al. Son projet de m\u00e9moire, sous la direction de Catherine Cyr, porte sur l’exp\u00e9rience spectatorielle, de lecture et d’\u00e9coute des pi\u00e8ces J’aime Hydro <\/em>de Christine Beaulieu et Okinum <\/em>d’\u00c9milie Monnet. Elle est membre-chercheuse du groupe de recherche R\u00e9\u00e9crire la for\u00eat bor\u00e9ale. Pratiques collaboratives et sp\u00e9culatives entre litt\u00e9raires et \u00e9cologistes <\/em>(UQAM-UQAT), dirig\u00e9 par Jonathan Hope, en collaboration avec Catherine Cyr, Cassie B\u00e9rard, Miguel Montoro Girona et Guillaume Grosbois. Elle a \u00e9galement particip\u00e9 au groupe de recherche Approches \u00e9copo\u00e9tiques des dramaturgies contemporaines<\/em>, pilot\u00e9 par Catherine Cyr, au sein duquel elle a travaill\u00e9 sur l\u2019exp\u00e9rience d\u2019\u00e9coute et sur le paysage sonore de la baladodiffusion de la pi\u00e8ce Okinum<\/em> de l\u2019artiste multidisciplinaire anishnaabe et fran\u00e7aise, \u00c9milie Monnet.<\/p>\n\n\n\n

Katya Montaignac<\/strong><\/p>\n\n\n\n

Aiguiser l’attention<\/em><\/strong><\/p>\n\n\n\n

Bio : <\/strong>Artiste en danse et dramaturge install\u00e9e \u00e0 Tiohti\u00e1:ke\/Mooniyang\/Montr\u00e9al,\u00a0Katya Montaignac<\/strong>\u00a0cr\u00e9e des \u00ab objets dansants non identifi\u00e9s \u00bb. Jeux chor\u00e9graphiques, spectacles participatifs, s\u00e9minaires in(ter)disciplinaires ou banquets performatifs, son travail suscite des collaborations inattendues \u00e0 travers la mise en jeu d\u2019une diversit\u00e9 de corps et de voix. Riche de nombreuses exp\u00e9riences collectives, notamment avec La 2e<\/sup>\u00a0Porte \u00e0 Gauche et avec La Pieuvre (groupe de r\u00e9flexion tentaculaire sur l\u2019\u00e9valuation de l\u2019art\u00b7iste), sa d\u00e9marche s\u2019inscrit dans une pratique de l\u2019invitation et du dialogue. Elle s\u2019int\u00e9resse particuli\u00e8rement aux corps micropolitiques, \u00e0 une danse sans ego, aux pratiques radicalement d\u00e9hi\u00e9rarchiques, collectives et bienveillantes. Docteure en \u00e9tudes et pratiques des arts, elle enseigne et \u00e9crit sur la danse (De la glorieuse fragilit\u00e9 : l\u2019Ab\u00e9c\u00e9daire<\/em>\u00a0;\u00a0Tribunes sur la danse ; Curieux manuel de dramaturgie\u2026<\/em>) et anime des conversations au sein du milieu professionnel (Cultiver son jardin chor\u00e9graphique, Chor\u00e9graphes anonymes, Club de dramaturgie\u2026).<\/p>\n","protected":false},"excerpt":{"rendered":"

Guillaume Dupetit De l\u2019\u00e9coute \u00e0 la sp\u00e9culation sonore : vers un nouveau rapport au monde En cherchant \u00e0 proposer un rapport au monde plus sensoriel, incarn\u00e9 et immersif…<\/p>\n","protected":false},"author":246,"featured_media":0,"template":"","format":"standard","meta":{"_acf_changed":false,"_uag_custom_page_level_css":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"tags":[],"timezone":[334],"eventtype":[482],"eventformat":[362],"eventhost":[367],"eventseries":[479],"themes":[],"accessibility":[379,381],"class_list":["post-4401","agoraevent","type-agoraevent","status-publish","format-standard","has-post-thumbnail","hentry","timezone-hne","eventtype-session-de-communications","eventformat-hybride","eventhost-sqet-fr","eventseries-conference-sqet-2024","accessibility-evenement-hybride-en-ligne-et-en-personne","accessibility-lieu-accessible"],"acf":[],"yoast_head":"\nS\u00e9ances parall\u00e8les III - 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