《适度歌唱》-2010中法文化之春在深圳

时间：2010年6月4日 周五 20:00
场馆：深圳市少年宫剧场

法国手技杂耍《Pan-pot》(适度歌唱)，由法国剧团Collectif Petit Travers出演。《Pan-pot》是一出梦幻剧。在空空的舞台上，三名年轻的杂耍演员伴随钢琴家Aline Piboule欢快的弹奏倾力。他们手中的球时尔漫天飞舞，时而上下弹跳，轨迹神秘却始终令人着迷。

来自Le collectif Petit Travers剧团的三位艺术家对中国传统杂耍艺术进行了全新的演绎。在他们的手中，杂耍不再仅仅是令人惊讶颇显单调的技术活儿，在呈现演员灵巧性的同时，杂耍也成为诗一般的艺术。这场无疑代表了法国马戏团近二十年来的演变过程。“新马戏”将传统技艺（杂耍，走钢丝表演……）改变成新的现代艺术形式。

适合7岁或以上的儿童与他们的家长一起观看。

剧照：

杂耍演员：于连·克莱蒙，丹尼斯·法日童，尼古拉·玛提斯
钢琴伴奏：阿琳娜·皮布勒
单位：法国Collectif Petit Travers剧团

合作：法国驻华使馆
支持：深圳市文体旅游局，深圳中兴发展ZTE-D,空中客车公司（天津）

票价：50/100/180/280元
场馆电话：0755-83513000
场馆地址：广东省深圳市福田区福中一路2002号
交通方式：乘坐地铁四号线(一期)到少年宫站下；或乘坐公交25路、64路、65路、71路、111路、371路到少年宫下即可;自驾车到金田路和福中一路的交界处，走红荔路也可以到。

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The French circus-theatre company Collectif Petit Travers is a French circus-theatre company. This January, they present their latest show, Pan-Pot, a firework display of world-class juggling performed to live piano music by classical masters Liszt, Mozart and Beethoven, and modern composer Ligeti. Almost like notes from a piano, objects fly with precision, grace and awesome speed, building to a spectacular climax.

Sometimes it seems there's scarcely a juggler who's not deeply interested in mathematics and the sizeable body of music that closely abuts it. Whether it's Bach or barcodes or microtones, jugglers can be relied on to reach far outside the usual circus repertoire of tango and Yann Tiersen—and, in the nerdiest instances, to let that music score the technical aspects of their work.

Pan-Pot, subtitled Theme and Variations for Three Jugglers and Pianist, puts Julien Clément, Denis Fargeton and Nicolas Mathis on stage with musician Aline Piboule, a huge supply of white juggling balls, a mannequin (sometimes), and nothing else. Lit with painterly care and extreme restraint, the three jugglers in dark suits, Pan-Pot takes the method of deadpan clown and develops its rhythms of anticlimax and silence within a completely abstract structure. Julien Clément is a relatively neutral presence, but Denis Fargeton and Nicolas Mathis's clown personae are both subtly present—Fargeton with classic ruffled vacancy; Mathis in his walk and small, satisfied smile slightly but resonantly recalling a mincing courtier, a character he obviously hugely enjoys.

Pan-Pot divides into four movements- four distinct movements according to the programme, but while I was faintly aware that the pianist would open and shut the key cover to mark the sections, I was too caught up to have much of a sense that the piece divided into quarters. I think though, approximately, its movements were obfuscation, revelation, time and climax. The first two are simple enough- the three begin juggling with their backs to us, concealing their manipulation so that the balls appear to leap like silver fish, and then we see the same patterns as they face stage- front, and the focus becomes the eccentricity of the timing- what appeared simply a pause before is filled now by a juggler shaking his ball like a malfunctioning clock. The third quarter, which I'm saying rather fatuously is about time, is profound, warping and occasionally baffling- because now balls fly wildly to the wings not because there's no one there to catch them but because there's no one there to catch them yet: Clément and Fargeton pass at top speed for a minute as Mathis crawls across the stage, incredibly slowly, and raises his hand, incredibly slowly, arriving at exactly the right place, at exactly the right time, to catch a sudden fastball. Watching patterns appear, break, reappear and conclude as the jugglers (here sort of facilitators) step in and out of different time streams is as musically compelling as a symphony- building and dissolving and building its motifs, each time a little higher. In Pan-Pot's final section, which is set up like an encore with the performers leaving then returning laden with whole baskets of balls, patterns and intricacy are less important than sound and shape, and there's nothing, after all the structure and order, quite like seeing twenty balls bounce every which-way across the stage.

But where on Earth do they go from here? Having successively stripped back the theatrical machinery of their shows to the point where they can get a laugh from, entirely, a mannequin and a light cue, how do they move forward? Perhaps it underestimates their intrepidity as a company, but you almost feel that Pan-Pot is the end of the line: as good as it can be; a piece which can, like music, with one expansive movement, send the mind flying outward.

ad.: 2002, Fuzhong yi lu, Futian, Shenzhen
Tel.: 0755-83513000

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Jonglage: Pan-pot du Collectif Petit travers

Pan-pot ou Modérément chantant
Spectacle | Jonglage Jeune public

Shenzhen, Palais des Enfants de Shenzhen
Vendredi 4 juin

“Pan-Pot ou Modérément chantant” est un spectacle féerique. Sur un plateau vide, trois jeunes jongleurs hypnotisent le public au rythme d’une musique enjouée, magistralement interprétée par la pianiste virtuose, Aline Piboule. Les balles volent, fusent, bondissent, selon des trajectoires souvent imprévues, parfois énigmatiques mais toujours envoûtantes.

Le collectif Petit Travers
Les trois artistes du collectif Petit Travers revisitent l’art traditionnel du jonglage, si réputé en Chine. Entre leurs mains, le jonglage devient un art poétique et plus uniquement une performance technique époustouflante, dont la dextérité des artistes serait le seul point d’orgue.

Le spectacle est représentatif de l’évolution qu’a connue le cirque français au cours de ces 20 dernières années. Le nouveau cirque a transformé les techniques traditionnelles (jonglage, funambulisme…)en nouvelle forme d’art contemporain.

Spectacle conseillé à partir de 7 ans.

Jongleurs et comédiens : Julien Clément, Denis Fargeton, Nicolas Mathis
Pianiste interprète : Aline Piboule

Partenaire : ambassade de France en Chine
Avec le soutien du Bureau de la Culture de Shenzhen, ZTE-D à Shenzhen et Airbus à Tianjin

ad.: 2002, Fuzhong yi lu, Futian, Shenzhen
Tel.: 0755-83513000