#cartoucherie

[marynatolosa90]

Les Halles de la Cartoucherie, tiers-lieu qui regroupe autant des restaurants, qu’une librairie, une épicerie, un café, une salle de sport… bref, un lieu où se réunir

[publicite-francaise]

Cartoucherie Française, Paris, Douille de chasse, 1911.

[sir20]

La Cartoucherie, Toulouse by sir20

[chansonsinternationales]

Martine Franck - Ariane Mnouchkine, Théâtre du Soleil, "Richard II", Cartoucherie de Vincennes, Paris, 1981

[liminalflares]

Martine Franck

Eumenides by Aeschylus, Théâtre du Soleil, Cartoucherie de Vincennes

Paris, France, 1992

From Martine Franck: One Day to the Next

[cricaoevenements]

J6 - Marché du dimanche au quartier de la Cartoucherie. Sortie impromptue du chien lion dans les rues de Toulouse. Fin d'après midi, performance du chien lion à Castanet Tolosan pour le festival Marionettissimo. Passage le soir à bord la péniche d'une amie...découverte de la vie au bord du canal du midi ..

[copainscyclos]

Sortie du 22 juillet 2023

Il est 7 h du mat j'ai des frissons, je claque des dents je monte sur mon vélo (chagrin d'amour). Les 2 Éric de St Marcel me récupére. Nous prenons Claude au passage. Direction l'Ardèche, nous récupérons André, sa sortie de reprise, il ne va pas être déçu.

Nous montons sur la route du tram. Agréable les 2 Éric sont devant. On passe au petit Fringuet et Direction Alboussiére, la descente, puis la petite montée sur Alboussiére. Ravitaillement d'eau malheureusement chaude mais qu'importe nous repartons vers le col des Fans, Un cycliste nous double, Éric lui prend la roue jusqu'au col de Rouveur. C'était un vététiste qui fait de la route. Costaud. Il nous indique une route après le col des Fans, Claude connaît car il est déjà passé là. Après la photo au col on redescend sur 500 m vers Lamastre. Une route qui remonte vers le col de N'a, puis descente sur Gilhoc et remontée au col de Mayres. Un arrêt au sommet où on admiré le paysage et quelques cycliste de la gente féminine. Mais qui voilà ? Michel dans son jardin, l'Ardèche. Il avait fait Rôtisson et le voilà au col des Mayres. Nous continuons la route avec lui. St Sylvestre, ensuite nous voulions aller vers Plats mais Michel va à St Romain de l'Herps, qu'à cela ne tienne on le suit au grand dam d'André qui à mal aux jambes mais il a dû coffre et s'en sort bien. On croise beaucoup de cyclistes ce matin. À st Romain tout un club de Romans. Une descente rapide sur St Peray. Nous quittons Michel. Traversé de Grange, puis Valence par la voie de bus, nous laissons André, on continue vers Bourg on laisse Claude et nous passons par la Cartoucherie. Les 2 Éric me laisse et rejoignent St Marcel.

Une sortie sympa, on a pas fait de grosse altitude 700 m maximum, mais de la dentelle. Voir sur Strava.

À plus pour une autre aventure.

Philippe

[miaolivijabindner]

The adaptation, the bet of sustainability of the artwork

At the Aquarium Theater - La Cartoucherie - I discovered the script À nos amours from 1983 this Thursday February with Ana by Laurent Ziserman, even though I didn't see the film by Maurice Pialat before.

French teaser of Ana by Laurent Ziserman

A father, a mother, a brother, a sister, mealtimes, an apartment. I especially retain in memory the violence, the intensity, the truth of the family scenes ; their power and their beauty by their dramatic force.

Maurice Pialat's cinema is profoundly focused on the role of the human being. The filmmaker is only interested by people, their wounds and their weaknesses. Fragility of detail, long sequence shot, domestic and private space. So many characteristics that we find in the cinema of the Japanese director Kenji Mizoguchi from whom he's inspired a lot.

But what distinguishes Maurice Pialat is his works are derived from an intimate and felt experience. This experience becomes filmic material for an exploration in the theater. In fact, in an interview on November 1983, two weeks after the release of his film, Maurice Pialat confided his regrets. If he could have, he would have shot a family lock-in, uniquely in the setting of the partment in order to focus on these family scenes that constitute the essence of his narration.

Setting by Maurice Pialat

These scenes are filmed in a very head-on way by using the entire space of the set. A character enters from the left -garden side- at the beginning of the shot, and exits from the right -yard side- once the scene is finished. He mainly operates on the horizontal movement of the characters who are limited to the edges of the frame or by the set. The film deals with the question of scenic presence. Maurice Pialat's work seems to be in dialogue with the theater and its codes.

Is Laurent Ziserman's direction an adaptation or a contribution to Maurice Pialat's intentions ?

By introducing the original script to the stage, Laurent Ziserman seeks to transcribe a statement but also to redefine an aesthetic in continuity with Pialat's model.

First, the unity of action is maintained : a family loves each other and is torn apart. Then, the unity of the place reminds the exercise of staging in the theater in which a director composes a space with a variable function. In Ana the apartment is the only place where the action takes place, as Maurice Pialat would have wished for his film. On the stage of the Aquarium theater, this area evolves, deconstructs and decomposes. There is the dining room - represented by the wooden table - which becomes the space of the slippage and the family crises ; the atelier where the father and the mother practice their art.

Setting by Laurent Ziserman

Father-daughter confrontation at the dinner table in the theater

Father-daughter confrontation at the dinner table in the film

The setting is also designed to navigate between several time-spaces. A screen is installed where cinematographic references are projected - The exit of the Lumière factory in Lyon 1895 - or past moments of the actors' intimate lives. At last, we also recognize all that deals with the physical body. In fact, what animates and makes Pialat's characters act are physical impulses. Consequently, the importance is attached to the scenography of the gesture in the spatial setting.

Laurent Ziserman includes the work of Maurice Pialat in almost all of his staging decisions. The press file of the Aquarium theater mentions the director's research : he went to the Cinémathèque Française to consult the Maurice Pialat Fund, he studied interviews with the director's major collaborators, he met Sylvie Pialat, the actor Christophe Odent and others. All of these sources permits the entire comprehension of the workin order to provide a diversity of material for Laurent Ziserman. But it's an exercise in inspiration rather than imitation. The director doesn't really seek to adapt a film but reimagines it, appropriates the codes of the director in order to complete his work.

Inspired by the idiom, aesthetics and method of Maurice Pialat, the piece Ana is a retrospective but also the exploration of an approach. The reading and appropriation of Maurice Pialat's work by Laurent Ziserman is a confession of the value of his work. His cinematic work will continue to exist in a different form, by renewing it and respecting the original intentions of its author. In a global sens, when the artwork is in the public space, it becomes the object of multiple re-uses that will make it perpetual.

[pgagob2020bouhnikkimberly]

Janvier 2020 Carnet d’observation Technique : crayon

[lacompagniedupassage]

SOUTENEZ LE SPECTACLE “ET POURTANT C’EST LA VEILLE DE L’AURORE”

Chers adhérents, spectateurs et amis de la compagnie du PasSage,

En partenariat avec Auroville International France, nous faisons appel à vous pour favoriser la diffusion du spectacle « Et pourtant c'est la veille de l'Aurore ». Créé en 2018 en Inde, le spectacle est en ce moment même de nouveau en tournée entre Auroville et Pondichéry. Il sera joué ensuite au théâtre de l'Épée de Bois à la Cartoucherie à Paris du 6 au 18 mai 2019.

Afin que nous puissions poursuivre cette belle aventure, vous pouvez nous aider et faire un don en vous rendant sur la page de notre campagne sur le site Helloasso (lien ci-dessous). Toutes les informations concernant ce beau projet, porté par la parole de Satprem et Sri Aurobindo y sont présentées, mais vous pouvez aussi vous rendre sur notre site pour en consulter le dossier de presse.

Nous vous remercions pour votre soutien !

Le PasSage et Auroville International France

https://www.helloasso.com/associations/auroville-international-france/collectes/et-pourtant-c-est-la-veille-de-l-aurore