World Theatre Days – Jean Cocteau

"Many discords, says the poet, are born from the distance between minds and the wall of languages that the vast theatrical apparatus proposes to cross. Thanks to the World Theatre Days, peoples will at last become aware of their respective wealth and will collaborate in a large commitment with peace. "Nietzsche said: "Ideas that change the face of the world come on doves' feet. "Perhaps it is by a means that was too often limited to the simple pretext of pleasing that the youth will benefit from a brilliant and lively Sorbonne, from real dialogues, while the fatigue of study made the masterpieces lose their original violence and weaken them. I would add: the machine is said to have dealt the final blow to the Theatre. I don't believe this, and since the International Theatre Institute has asked me to speak on its behalf, I declare, as was once declared for our kings (varying the formula a little): If the Theatre is dead, long live the Theatre! »


« Bien des discordes, déclare le poète, naissent de l'éloignement des esprits et du mur des langues que le vaste appareil théâtral se propose de traverser. Les peuples, grâce aux Journées mondiales du théâtre, prendront enfin conscience de leurs richesses respectives et collaboreront à une haute entreprise de paix.
« Nietzsche disait : « Les idées qui changent la face du monde viennent sur des pattes de colombes. » Peut-être est-ce par un moyen qui fut trop souvent limité au simple prétexte de plaire que la jeunesse bénéficiera d'une Sorbonne brillante et vivante, de dialogues en chair et en os, alors que les fatigues de l'étude faisaient perdre aux chefs-d'œuvre leur violence d'origine et les affaiblissaient.
J'ajoute : la machine aurait, paraît-il, porté le coup de grâce au Théâtre. Je n'en crois rien, et puisque l'Institut international du théâtre me charge de prendre la parole en son nom, je déclare, comme on le déclarait jadis pour nos rois (en variant un peu la formule) : Si le Théâtre est mort, vive le Théâtre ! »

Kalinka: my little raspberry…

Kalinka: my little raspberry…

“Kalinka, Калинка
"Small bay" in Russian,
A girl’s name,
("Ladybug" in Bulgarian,
Or "pomegranate" in Macedonian)
But above all one of the most famous Russian folk songs
Becoming over time a traditional melody
Full of poetry
"In the garden, there are little raspberries, my little raspberry! "
В саду ягода малинка, малинка моя! ”


« Kalinka, Калинка
Désignant une « petite baie » en russe, prénom féminin,
(« coccinelle » en bulgare,
Ou encore « grenade » en macédonien)
Mais surtout l'une des plus célèbres chansons folkloriques russes
Devenue au fil du temps un air traditionnel
Plein de poésie et de sourire

« Dans le jardin, il y a des petites framboises, ma petite framboise ! »
В саду ягода малинка, малинка моя! »

Proposed by

Song and Dance

Song and Dance

Why Sing? Why Dance?
It has been said that we sing when we can no longer speak.
When we can no longer sing, then we have the need to dance.
Throughout time, space, and culture and belief, the shared experience of song and dance has an important resonance. We share the universal language of music and movement.
We communicate through sound, tempo and melody, as well as body extension, elevation, swirling, soaring and stillness. We understand great joy and deep despair without words or language to misunderstand or misinterpret.

The gentle and subtle wave of a Japanese dancer’s hand movement
The pounding rhythm and metallic speed of a Flamenco dancer’s shoe hitting the stage.
The steady earthbound beat of an East Indian barefoot stomp and symbolic Patakas (hand gestures) speaking clearly.
The joy filled prance of Peruvian color clad villagers winding in circles and patterns.
The most highly skilled and perfect ballet artists turning, leaping and finding the suspended balance that we seek in all our lives.

Why Sing? Why Dance?
As a child, I loved a little poem: “A bird doesn’t sing because he has an answer, he sings because he has a song.”


Pourquoi chanter ? Pourquoi danser ?
On dit que l'on chante quand on ne peut plus parler.
Lorsque nous ne pouvons plus chanter, nous avons alors besoin de danser.
À travers le temps, l'espace, la culture et les croyances, l'expérience partagée du chant et de la danse a une résonance importante. Nous partageons le langage universel de la musique et du mouvement.
Nous communiquons par le son, le tempo et la mélodie, ainsi que par l'extension du corps, l'élévation, le tourbillon, l'envol et l'immobilité. Nous percevons la joie et le désespoir sans mots ni langage susceptibles d’être mal compris ou mal interprétés.

La vague douce et subtile du mouvement de la main d'un danseur japonais.
Le rythme martelant et la vitesse métallique d'une chaussure de danseur de Flamenco qui monte sur scène.
Le rythme soutenu d'un pied nu indien et le symbolique Patakas (gestes de la main) qui nous parle avec clarté.
La joie des villageois vêtus de couleurs péruviennes qui se baladent en cercles et en motifs.
Les artistes de ballet les plus compétents et les plus parfaits qui tournent, sautent et trouvent l'équilibre suspendu que nous recherchons dans toute notre vie.

Pourquoi chanter ? Pourquoi danser ?
Enfant, j'adorais un petit poème : « Un oiseau ne chante pas parce qu'il a une réponse, il chante parce qu'il a une chanson. »

Proposed by

Molly Malone’s song

In Dublin's fair city, where the girls are so pretty
I first set my eyes on sweet Molly Malone
As she wheeled her wheelbarrow through streets broad and narrow
Crying cockles and mussels alive a-live O!

A-live a-live O! A-live a-live O!
Crying cockles and mussels alive a-live O!

She was a fishmonger and sure it was no wonder
For so were her father and mother before
And they both wheeled their barrows through streets broad and narrow
Crying cockles and mussels alive a-live O!

A-live a-live O! A-live a-live O!
Crying cockles and mussels alive a-live O!

She died of a fever and no one could save her
And that was the end of sweet Molly Malone
Now her ghost wheels her barrow through streets broad and narrow
Crying cockles and mussels alive a-live O!

A-live a-live O! A-live a-live O!
Crying cockles and mussels alive a-live O!
A-live a-live O! A-live a-live O!
Crying cockles and mussels alive a-live O!

Radif – Repertoire of Iranian classical music

The Radif of Iranian music is the traditional repertoire of the classical music of Iran that forms the essence of Persian musical culture. More than 250 melodic units, called gushe, are arranged into cycles, with an underlying modal layer providing the backdrop against which a variety of melodic motifs are set. Although the main performance practice of Iranian traditional music unfolds through improvisation according to the mood of the performer and in response to the audience, musicians spend years learning to master the radif as the set of musical tools for their performances and compositions. The radif may be vocal or instrumental, performed on a variety of instruments with different performance techniques including the long- necked lutes tār and setār, as well as the santur hammered zither, kamānche spike fiddle and ney reed pipe. Passed from master to disciple through oral instruction, the radif embodies both the aesthetic practice and the philosophy of Persian musical culture. Learning the radif stretches over at least a decade of self devotion during which the students memorize the radif’s repertoire and engage in a process of musical asceticism intended to open the gates of spirituality. This rich treasury lies at the heart of Iranian music and reflects the cultural and national identity of the Iranian people (source: ich.unesco.org)


The Radif of Iranian music -UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2009

The function of the theatre in Greece

Education is done through the theatre, by people in the field, who propose fictions, which touch the children. That was the function of the theatre in Greece. That is to say that citizens could not leave the theatre after the performance. They had to discuss it because the actors would stage the problems of the city and then the culture was shared, then came the philosophers, the politicians, the economists... But the starting point was the artists.


L'éducation se fait par le théâtre , par des gens de théâtre, des gens de terrain, qui proposent des fictions, qui touchent les enfants. C'était la fonction du thêatre en Grèce. C'est à dire que les citoyens ne pouvaient pas quitter le thêatre après la représentation. Ils devaient en discuter parce que les comédiens mettaient en scène les problèmes de la cité et la culture ensuite était partagée, ensuite on faisait intervenir les philosophes, les politiques, les économistes, ensuite... Mais le point de départ c'était les artistes.

Edelweiss edelweiss – The sound of Music

Edelweiss edelweiss
You, the friend of the clouds
Flower of snow or sky
You live free and wild
Watch over the country of my loves
Throughout the ages

Edelweiss edelweiss
Watch over my village


Edelweiss edelweiss
Toi, l'amie des nuages
Fleur de neige ou de ciel
Tu vis libre et sauvage
Veille sur le pays de mes amours
Tout au long des âges

Edelweiss edelweiss
Veille sur mon village

In a way that is pleasing to my own eye…

As Kenojuak explained in 1980 to Jean Blodgett, author of several books and essays on the artist: “I just take these things out of my thoughts and out of my imagination, and I don’t really give any weight to the idea of its being an image of something…I am just concentrating on placing it down on paper in a way that is pleasing to my own eye, whether it has anything to do with subjective reality or not. And that is how I have always tried to make my images, and that is still how I do it, and I haven’t really thought about it any other way than that. That is just my style, and is the way I started and the way I am today. (canadaswalkoffame.com)

txalaparta

Instrument d’origine basque consistant en une ou plusieurs planches de bois assemblées, posée(s) sur deux paniers ou appuis (recouverts de feuilles de maïs ou de peaux), et sur lesquels deux joueurs frappent à l’aide de bâtons nommés makilas □ Rappelant le galop du cheval selon certains, la txalaparta est un instrument puissant au rythme soutenu

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