Entertainment "How we got into the abbey site": Alain Goudard and his incredible Percussions de Treffort revisit the heritage in Ambronay

12:25  22 september  2020
12:25  22 september  2020 Source:   francetvinfo.fr

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For the Heritage Days, Alain Goudard and his ensemble have imagined another visit to the site d'Ambronay, in Ain, at the request of the famous music festival of the same name. Meet this brilliant sound maker.

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Alice, Mathilde, Marie, the three mediators of Ambronay, in front of their group, in front of the Abbey Church: what starts off as a classic visit to the site as part of the Heritage Days, quickly breaks off with the eruption of a singer with a magnetic and disturbing voice, then another, and a clatter of woody sounds from nowhere. The guides are disoriented, their flow of words gets bogged down, onomatopoeias, snippets of words, syllables in freedom, their gestures get lost. The visit to the abbey takes place but takes on the air of a mad ghost train among the walls, music and sounds of Ambronay, somewhere between Jacques Tati and John Cage. Bright and funny.

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The performance is called Architectura, signed by the Contemporary Resonance ensemble comprising both the famous Treffort Percussions and the Six Soloist Voices. Project manager, their creator, the musician Alain Goudard who responded to an order from the Ambronay Festival to revisit the course of the Heritage Days at the abbey. We met him in the gardens of the site after one of his performances.

Franceinfo Culture: How did this performance visit to Ambronay come about?

Alain Goudard: The Ambronay Festival asked us to make a special visit to the site on the occasion of Heritage Days. How to invent a look? We listened ... We are not there to impose things on him but to slip into this place. We came upstream, to see how we heard it. And we brought in very small things that just changed the acoustics without realizing it. Minimalist things, but it set something in motion.

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And the idea of ​​mediators?

I came to meet the three mediators and I listened to how they told the site. All the gestures they make in the performance come only from them. We started from that, their attitude, their way of telling, the gestures they made when they were with a group of people. And after words, silences, superimpositions, embedding, moments when the voice sang… And what is interesting is that they have historical information on each place of the site, but each one interprets it in its own way .

It should be remembered that the three guides, Alice de Villablanche, Marie Rand and Mathilde Oudin, are real mediators and not actresses…

It was the constraint vis-à-vis the festival: I told them, the stake is that they are part of the team. And they were hyper-participatory from the start, we took away their inhibitions a little, there were fears ... And then little by little they worked with the singers of the team and I built up as I went along. with them according to what they had to say. Because there is both the place and the explanatory words that they usually wore: it also served as a basis for what we were going to be able to imagine. So we came to record a whole day around fifty sounds of different doors, cupboards, keys, saws, everything started from the general weaving.

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This sound aspect is important, it is fully in line with what you have been doing as a musician for years, especially with the Percussions de Treffort.

You are right, it is important. I am a musician, and with the ensemble Les Six Voix Solistes we do contemporary music, improvisation ... Some works performed are very written, others less, there are things that bring us to the frontiers of phonemes, voice in all its registers. And then others still which bring us closer to the performer Will Menter (British artist known for his sound sculptures, editor's note) who works from the elements of nature, such as stone, trees… We can also find thoughts of John Cage at a time… There are all these influences, these ways of approaching music, and for us that makes sense.

Reference question, we can also see Claude Régy in the decomposition of speech…

Yes, absolutely. It is a work that has to do with the voice and even the essence of the voice. Take the mediators for example: they had their way of saying and their know-how and we started from there to build superimpositions, fragmentations, repetitions, imitations…

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And there is another constant in your work, that we also find here: the intervention of mentally handicapped artists

Yes, creation can be a place where everyone, whatever they are, whatever their skills, can meet the other. A place where, if we approach it in a certain way, we will revisit the places, the roles, the skills and all that can form an extremely important common.

If we consider it that way, we will no longer see a handicapped person by his handicap at all, but as an individual. How a place like this can make an intelligence reveal itself to itself and meet others and from there will be able to build itself. So, we started from a musical workshop, one evening of the week, to today become a professional ensemble that works with musicians like Louis Sclavis, the Percussions de Strasbourg, lots of composers…

That's the meaning too of this work today?

Yes, it corresponds to this spirit of global research of Contemporary Resonance. How creation can be linked to life, how it is anchored in our daily life. And, from a somewhat philosophical point of view, how it can be a place where the question of being today arises, together.

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