Musiques-Fictions n°5: La Compagnie des Spectres by Lydie Salvayre

  • Installation

  • Sat 18 June 2022,
    2 p.m. Sun 19 June 2022,
    2 p.m. Tue 21 June 2022,
    8 p.m. Sat 25 June 2022,
    2 p.m.

  • T2G - Théâtre de Gennevilliers
    Access plan

  • per session : 5 €


In a three-room apartment in a housing estate in Créteil, a mother and daughter live behind closed doors, haunted by memories of the Occupation and the Second World War. The mother suffers from dementia and believes that she is still being persecuted by Pétain and Darnand. The visit of a lawyer who has come to make an inventory before the seizure of their furniture triggers the intertwined stories of their respective lives. In front of the impassive lawman, the two women engage in furious monologues as hilarious as they are monstrous. A triple encounter between Lydie Salvayre, Florence Baschet, and Anne-Laure Liégeois.

Lydie Salvayre text
Florence Baschet composition, commissioned by IRCAM-Centre Pompidou
Anne-Laure Liégeois adaptation
Serge Lemouton IRCAM computer music design
Luca Bagnoli sound engineering

With the voices of Annie Mercier (Rose Mélie, the mother), Anne Girouard (Louisiane, the daughter), Olivier Dutilloy (Maître Échinard, the lawyer) and music recorded by Elise Chauvin soprano and Alphonse Cemin piano

The Musiques-Fictions collection merges a contemporary text, a musical creation, and the collective experience of immersive listening under an ambisonic dome. The musical creation is in perfect contact with the literary work. The language has all the intelligibility; the music has a space of its own. The Musiques-Fictions intend to renew the genre of radio fiction, the Hörspiel, the vigil, by going beyond the simple sound illustration of the story or the dialogue. Music-fictions where the image is not a screen.

Production IRCAM-Centre Pompidou. With the support of the Sacem and the Centre national de la musique.

Dôme ambisonique de l'Ircam
© Maxime Robert
Dôme ambisonique de l'Ircam
© Maxime Robert
Dôme ambisonique de l'Ircam
© Maxime Robert

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