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I also get the impression that the – very organic – movement from the back of the stage, when you’re crawling, when you move to the sofa, delineates a definite territory. asked if I could open the door and the draught made my hair fly about. Y.H. Béla Bartók / Francis Poulenc. In C’est presqu’au bout du monde (Almost at the end of the world), Mathieu Amalric filmed me warming up my voice. In La Voix humaine, with the vertical video projection, it’s as if you are crawling, like an animal, like an insect. e mathias enard mariana enriquez. they exist in a kind of very vague place which hurts less…” As a performer, my Sign up to receive news fromOctave Magazine by email. Encounter between Barbara Hannigan and Yannick Haenel. : Could you tell us about your collaboration with Krzysztof Warlikowski, the director? : Do you still have to pace yourself in order to sing an entire run? The first image happened by accident. Y.H. In 2008-2009, Haenel was a resident at the French Academy in Rome, the Villa Médicis.[2]. As in La Voix humaine, at the heart of the work there is anxiety, solitude, isolation, the impossibility of connecting with someone else, the impossibility of really loving, of living with someone and, basically, living with herself…. In opera, during rehearsals, we sometimes wear knee-pads, for example. : “The body that emerges from the voice”, yes. Thus your very body is dramatic, since it carries the beginning of the performance, welds the world of Bartok to that of Poulenc, then occupies the space until the end. In this opera, there are no grand vocal demonstrations. Yannick Haenel. It’s a word often associated with singing, but I don’t like it. : That state of struggle is visible on stage. Stephen Barbara was born and raised in New Haven, Connecticut, and graduated from the University of Chicago with a B.A. He also directed two volumes of interviews with Philippe Sollers: Ligne de risque and Poker. I refuse to because one falls in a very different way with them on. Yannick Haenel (born 1967, Rennes) is a French writer, cofounder of the literary magazine Ligne de risque [fr]. Un homme est obsédé par une scène de la mythologie : celle où le chasseur Actéon surprend la déesse Diane nue au bain. There is something very athletic about you when you are on stage, something one doesn’t often see at the opera: something in the nature of a confrontation with elemental forces. : Yes, A.L. : I don’t want to calm down on stage. In the prologue, I am the illusionist’s accomplice. I’m Bluebeard’s wife, I’m bruised from hurling myself against the walls, but it’s necessary, because it is aggressive, it is violent. I prefer to say embodiment, because interpretation is superposed. said I couldn’t do it with a telephone. Pour le critique d’art anglais John Ruskin, il est presque toujours superficiel. d charles dantzig kamel daoud sophie divry . that of the switchboard operator. For me, Schönberg and his period evoke Transfigured Night, the poem by Richard Dehmel. That’s why audiences either love them or reject them violently. If Cocteau’s text is orchestrated or B.H. Y.H. A little book entitles Le Sens du calme. A baby can cry for hours without having vocal problems, because it's completely committed to the crying, s/it “is” the crying. This is a story of women, men and lovers, but there is something about it in the order of a graphic struggle with powers that are not assigned to human bodies. 27 min. Y.H. Romancier, essayiste, critique, cofondateur de la revue Ligne de Risque, Yannick Haenel est aussi depuis peu cinéaste.. Pensant l’écriture comme une façon de déborder l’espace de la page, il était naturel que son amour du cinéma, et du corps des nymphes qui souvent y trouvent refuge, devienne expérience de réalisation. Also, the first encounter is like a first date. Le Papillon noir est un monodrame composé par Yann Robin sur un livret écrit par Yannick Haenel et créé à La Criée de Marseille le 12 mai 2018. : At She needs the operator, she needs sympathy, but the operator does As if death weren't serious, as if it were a simple conjuring trick. Joy Sorman, un monde de fous. Yannick Haenel Yannick Haenel is the author of several novels, including Introduction à la mort française and Évoluer parmi les avalanches.In Paris in 1997, he cofounded the avant-garde journal for literature, Ligne de risque.The Messenger, published in France under the title Jan Karski, won the Prix Interallié and the Prix du roman FNAC in 2009. Born in Geneva in 1950, Barbara Polla is a doctor, gallery owner, writer and a liberal Swiss political figure. It’s strange, I imagine that woman as being drugged; I don’t see how she could survive without taking drugs. : In reality they are both forms of confinement – confinement in a room or internal confinement, like opposite sides of the same coin. Dans la première, nous verrons Jan Karski de Yannick Haenel2, Cinéma de Tanguy Viel3 et Ils ne sont pour rien dans mes larmes d’Olivia Rosenthal4. Barbara Hendricks, la voix humaine. l marc lambron isild le besco sanaË lemoine . There was a telephone, but I Yannick Haenel’s most popular book is A Short History of Photography. Consultez le profil complet sur LinkedIn et découvrez les relations de barbara, ainsi que des emplois dans des entreprises similaires. : That’s what I feel too: this production plunges us into an hallucinatory logic, a dream logic. I must have been twelve and I was convinced that I was living on the other side of that door, with the dead. : Those cries from the First World War are also the voices that Freud heard, of soldiers he tried to heal, suffering from schizophrenia and hysteria. But it’s not Yannick Haenel is a columnist for the literary and film magazine Transfuge [fr] since 2010 and Charlie Hebdo since the resumption of publication after the January 2015 attacks. A voir le 21 mars 2020 au Théâtre de la Renaissance à Lyon dans le cadre de la Biennale des Musiques exploratoires. It’s something I do every day but it’s very private, very intimate. You can’t cheat. f mattias faldbakken aurÉlie filippetti philippe forest irÈne frain . And yet, she loves him. 4 mars 2019 4 mars 2019 / barbarasoleil Dans un bel essai plongeant dans la vie du Caravage, Yannick Haenel interroge l’intériorité du plus grand des peintres. Avec Barbara Puggelli, Régina Démina, Eva Niollet. : Listening to that woman talk to someone else and/or to herself, I was also reminded of a tale by a Jewish mystic about the heart and the spring. : Yes, I saw that film. When you appear at the caesura, at the cut-off point between the end of “Bluebeard” and the beginning of La Voix humaine, one has the impression that you are returning from the kingdom of the dead and that you are making your way along what the Tibetans call the bardo, the passageway just after death, when one isn’t yet altogether dead. This very dark humour, aggressive, almost expressionist, reminds me of Schönberg. m lara micheli ennio morricone ottessa moshfegh . Y.H. Alexandre Lacroix; Is the woman we see in the Prologue to Bluebeard’s Castle the same as the one who comes back in La Voix humaine? : Yes. La Reine de Némi, un film de Yannick Haenel | Synopsis : avec Barbara Puggelli,Régina Démina,Eva Niollet Here, it’s as if the body emerges from the voice. It’s a question of using the voice with total commitment, without protecting oneself. we began rehearsals for La Voix humaine, Wolfsohn was a nurse during the First World War. One of my singing teachers was from the Roy Hart school, and Roy Hart was a pupil of Wolfsohn’s. : What memories do you have of rehearsals? : During rehearsals with Krzysztof Warlikowski, how did you work on your trajectory? : Yes. : I I don’t think one can be mad in writing. : We On the contrary: this contradiction is necessary. Y.H. Basically, a singer is a bit like Elle. It’s necessary to sing like that. found the beginning of it on the third day. Yannick Haenel has 27 books on Goodreads with 2335 ratings. The third part depicts Karski's feelings and relates dialogues that are presented by the author as a fiction. h yannick haenel . Barbara Hannigan: To my mind, links develop between these different moments. You are thus implicated – an accomplice? Earlier, you talked about interpretation. They’re on stage, they’re alive. supplication, to tortured bodies, to obtain that. (Télécharger) Correspondance Lettres 1 à 147 : (Priorat et abbatiat au Bec) pdf de Anselme de Cantorbéry, Helmut Kohlenberger, Michel Corbin, Henri Rochais The Messenger, by Yannick Haenel, translated by Ian Monk I could not put this down – I read it all in one go in a day. Sa ligne éditoriale a l’ambition d’aborder des questions exigeantes au moyen d’une forme habitée par l’histoire du dialogue et de la rencontre. A strange body. The voice doesn’t originate in the throat, it emerges from your guts. but deep down, I don’t know this man. We didn’t want A connection is established. But one has to get as close as possible to : They are the same character and yet not the same. 3 Tanguy Viel, Cinéma, Minuit, Paris 1999. In 2007, a controversy arose with Alina Reyes who accused him of plagiarism. In it he talks about a woman who wants to commit suicide because she is pregnant by a man she does not love. Julie Gayet, le cinéma au féminin. We have here two very different visions of love. — That’s important because with my colleagues, stage managers, pianists and conductors, I always have genuine relationships. : At another point, my character says: “Yesterday evening, I wanted to take a sleeping pill; I told myself that if I took more of them, I’d sleep better and that if I took them all, I would sleep a dreamless sleep, without waking, that I’d be dead.” As I pronounce these words, I make a gesture that refers back to the scene with the magician at the beginning. Yannick Haenel (France Culture, Le Réveil culturel, 04/03/2019) Les Dernières Diffusions. everything, it sets language singing. : That’s an idea both terrifying and fascinating. The only way they can meet is to sing for each other. 2 Yannick Haenel, Jan Karski, Gallimard, Paris 2009. You can see very clearly that the voice – your voice – comes from the lower abdomen. It’s the exact opposite. think that to write with total commitment, is to be open to things that can’t In opera, song changes It was during an improvisation. Le livre, Le Papillon noir, paraîtra le 7 mai 2020 aux éditions Gallimard. Is that her lover on the phone? B.H. The son of a soldier, Yannick Haenel studied at the Prytanée National Militaire at La Flèche.[1]. The woman in La Voix humaine is going to commit suicide, but she may have killed someone. Béla Bartók / Francis Poulenc, Encounter between Bryn Terfel and Yannick Haenel, In collaboration with Philosophie magazine. : The relationship these women, supposedly kept prisoner, have with their tormentor, Bluebeard, is complex. He wrote a book entitled Weib und Welt (Woman and World) for which he was prosecuted. In 2007, he published Cercle (Éditions Gallimard), a novel which earned him the prix Décembre and the prix Roger Nimier. : When one reads Le Théâtre et son double, Artaud refers to athleticism with regard to Balinese theatre – that anti-psychological theatre of unleashed power and crude gesture. 4 Olivia Rosenthal, Ils ne sont pour rien dans mes larmes, Verticales, Paris 2012. I’d like to read that book. I had a pink dress. A.L. Even if, in Warlikowski’s production, the telephone doesn’t exist, the question of communication – impossible communication – remains strongly present. The first time we met, when we did Lulu in 2012, there was an instant rapport of profound trust between us. B.H. anything bourgeois. again. Perhaps he chose her, and perhaps she knows deep down that one day, he’ll choose another spectator sitting in the stalls to take part in this number and replace her. ", "Le recours à la fiction n'est pas seulement un droit, il est nécessaire", Nomination ou promotion dans l'ordre des Arts et des Lettres, janvier 2010, Tilmann Krause: "Die Henker interessieren mich nicht", https://en.wikipedia.org/w/index.php?title=Yannick_Haenel&oldid=1005564782, Chevaliers of the Ordre des Arts et des Lettres, Articles with German-language sources (de), Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, The first part is directly inspired by the film, The second part summarizes in approximately 80 pages the testimony of Karski published in English in 1944 under the title. Krzysztof kept this effect which gave the character a savage side. Like a feminine human animal, pacing this territory for 40 minutes, stubbornly, insistently. Someone intercepts it. Yannick Haenel - Charlie Hebdo le 11 décembre 2019 J’écris cette chronique le 5 décembre, c’est-à-dire le premier jour de cette grève tellement annoncée. Writing is that too, when it sings. 28 min. – and who finally makes you levitate. Y.H. Perhaps she was just sitting there in the audience a few years ago. I wanted to ask you how you considered the relationship between these different roles, physically and vocally – even if your character is silent during the first half. Usually, the voice emerges from the body. Les sourires peints par Léonard de Vinci dissimulent, pour Sigmund Freud, le souvenir de la mère, premier objet des désirs de l’enfant. : I’d like to ask Yannick what ‘total commitment’ in terms of writing would be. Listen to our podcasts and discover our videos here. be depicted, like madness or death. In La Voix humaine, a man who has been killed rises again, as if Elle had become Bluebeard. Her “Hello, miss, hello,” over and over It’s an impossible space but it is the space of art, in which life and death converse, where one is dead and where one lives, where one is alive and where one dies. I said to myself that this production had something of the sacrificial ceremony about it, as in antique theatre. La Grande table culture. That’s what I call the spring. Y.H. A.L. De Gérard Guest, Bernard Sichère, Catherine Millot, Michel Cassé, Barbara Cassin, Marcel Detienne, François Jullien, Marc Dachy, Charles Malamoud Autres contributions de François Meyronnis, Yannick Haenel Gallimard L'Infini Y.H. Yannick Haenel. Voir le profil de barbara puggelli sur LinkedIn, le plus grand réseau professionnel mondial. I don’t remember now. Your body is deliberately contorted. Is he dead? A.L. : When 100 1 _ ‎‡a Haenel, Yannick, ‏ ‎‡d 1967-‏ 100 1 _ ‎‡a Haenel, Yannick, ‏ ‎‡d 1967- ‏ 100 1 _ ‎‡a Haenel, Yannick, ‏ ‎‡d 1967- ‏ It’s the same thing with singing, according to schools like those of Roy Hart or Alfred Wolfsohn. B.H. Tête-à-tête est une revue annuelle d’art et d’esthétique exclusivement composée d’entretiens de fond réunis autour d’un thème commun. [3] He reproached Haenel for having plagiarized the dialogues of his film without having asked for authorization. Opera "Pensionnaires depuis 1666 - Yannick Haenel", "Jan Karski de Yannick Haenel: un faux roman", "Pourquoi Lanzmann s'en est-il pris au Karski de Haenel? JULIETTE ADAM « Oh non . She returned to Switzerland in 1989 and became head of the allergy unit at the cantonal university hospital. one point, my character says: “Things I can’t imagine don’t exist, or at least, Until 2005 he was a teacher of French at lycée La Bruyère in Versailles. Le livre, Le Papillon noir, suivi de Longer à pas de loup, paraîtra le 7 mai 2020 aux éditions Gallimard (collection L’infini).Y-aura-t-il un « effet Papillon noir ». After studying medicine in Geneva, she continued her research at Harvard Medical School, Massachusetts General Hospital (Boston). But I am perhaps already one of Bluebeard’s wives. barbara a 7 postes sur son profil. B.H. Krzysztof, rehearsals don’t only take place in the rehearsal room. When you watch the performance, a map is drawn before your eyes. I’ve inflicted violence on my voice and on music, in favour of dischord. Le Château de Barbe-Bleue / La Voix humaine. Haenel responded by claiming the freedom of the novelist[5]. During rehearsals, I This is the least powerful sung register, the weakest for a soprano. Philippe Sollers, the director of Gallimard's collection L'Infini, said that he submitted Lanzmann the prints of the novel before publication[4] which Lanzmann has always denied. There’s a crime, but the victim is also a killer. With Krzysztof Warlikowski’s production of the diptych comprising Bluebeard’s Castle and La Voix humaine once again on the bill, Yannick Haenel and Alexandre Lacroix met Barbara Hannigan, who is singing the role of Elle in Poulenc’s opera, electrifying each performance with the intensity of her stage presence. The son of a soldier, Yannick Haenel studied at the Prytanée National Militaire at La Flèche. Ultimately, I’m like the little white rabbit the magician pulls out of his hat: longing for his affection, terrified at the idea he might abandon me. Un soir, une femme rentre chez elle. France / 2017 / 30 min . He completely changed vocal expression thanks to his total commitment. He then became a singing teacher in London and made it possible to cover six octaves, where there were only three before. Krzysztof asked me to fall, or I fell over. Des « extraits » de Je cherche l’Italie ont été publiés par Yannick Haenel sur le blog « Les Chroniques purple » pendant l’année 2014. nothing but condemn her to solitude. Do you read French? I like being afraid... with you - La Belle, la belle et la Bête, Jean Cocteau, 1946 . When I saw you in Le Grand macabre and in Lulu, I wondered if there was a certain distance, irony, perhaps even sarcasm. Because it’s the only note that isn’t part of the chord. ideas. From 1997, he codirected the magazine Ligne de risque with François Meyronnis. Who is dead? : The performing space of this production seems to me to be a place in which life and death are not contradictory. But the mirror effect doesn’t stop there: in “Bluebeard”, the women are perhaps dead. It’s different for a cellist or a pianist. La publication a commencé le samedi 26 janvier et s’est prolongée le 26 de chaque mois jusqu’en novembre 2014. On the other hand, there is that cable – a symbolic one at least – the telephone cable that connects Elle to Lui, therefore to the exterior. The voice elicits violent, passionate, amorous reactions because it offers something primal, something true. Yannick Haenel: What struck me first – fascinated me, I might say – is the way your appearances structure the evening as a whole: you appear in the prologue of Bluebeard’s Castle as the assistant of a strange magician who performs conjuring tricks before our eyes – is he the devil?

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