{"id":149886,"date":"2026-03-09T00:38:00","date_gmt":"2026-03-09T04:38:00","guid":{"rendered":"https:\/\/panm360.com\/?post_type=agenda&p=149886"},"modified":"2026-03-09T14:27:57","modified_gmt":"2026-03-09T18:27:57","slug":"le-vivier-ictus-ula-sickle-holding-present-semaine-du-neuf-a-lespace-orange-de-ledifice-wilder","status":"publish","type":"agenda","link":"https:\/\/panm360.com\/en\/agenda\/le-vivier-ictus-ula-sickle-holding-present-semaine-du-neuf-a-lespace-orange-de-ledifice-wilder\/","title":{"rendered":"Le Vivier \/ Semaine du Neuf | Ictus & Ula sickle – Holding Present, les mots de la direction artistique"},"content":{"rendered":"\n

Holding Present, collaboration entre la chor\u00e9graphe Ula Sickle et l\u2019ensemble de musique contemporaine bruxellois Ictus, est une performance o\u00f9 musique et danse se fondent en un geste collectif puissant. Sur sc\u00e8ne, sept interpr\u00e8tes – trois musiciens et quatre danseurs – partagent le m\u00eame espace, brouillant les fronti\u00e8res entre corps et instruments. La pi\u00e8ce explore comment un mouvement individuel peut devenir un acte commun. Inspir\u00e9 par les mouvements de protestation pass\u00e9s et pr\u00e9sents, Holding Present devient ainsi une r\u00e9flexion sc\u00e9nique sur la communaut\u00e9 : un espace o\u00f9 la pr\u00e9sence partag\u00e9e, le rythme commun et l\u2019\u00e9coute mutuelle dessinent une forme d\u2019action collective. Entrela\u00e7ant des \u0153uvres existantes et nouvellement command\u00e9es d\u2019Alvin Lucier, Pauline Oliveros, Didem Coskunseven et Stellan Veloce, l\u2019\u0153uvre propose une autre mani\u00e8re d\u2019habiter ensemble le pr\u00e9sent, dans une intensit\u00e9 physique et symbolique rare.<\/p>\n\n\n\n

Voici ce qu’en pense Jeffrey Stonehouse, directeur artistique de la Semaine du Neuf:<\/p>\n\n\n\n

\u201cCo-pr\u00e9sent\u00e9e par L\u2019Agora de la danse et Le Vivier, Holding Present <\/em>est une proposition o\u00f9, sur sc\u00e8ne, on a trois musiciens et quatre danseurs, mais les interpr\u00e8tes partagent le m\u00eame espace et les fronti\u00e8res entre les disciplines disparaissent. Les danseurs deviennent musiciens, les musiciens deviennent danseurs et interpr\u00e8tent des \u0153uvres d\u2019artistes renomm\u00e9s comme Alvin Lucier ou\u00a0 Pauline Oliveros. J’ai vu ce spectacle\u00a0 pour la premi\u00e8re fois \u00e0 Paris, et \u00e7a m’a boulevers\u00e9. J\u2019ai trouv\u00e9 super po\u00e9tique cette fa\u00e7on de travailler est tr\u00e8s loin de ce qu’on fait pr\u00e9sentement ici \u00e0 Montr\u00e9al. Ici, on va plut\u00f4t travailler avec une chor\u00e9graphe, mais il va y avoir quand m\u00eame une distinction entre ce qui est fait musicalement\u00a0 et ce qui est accompli par le ou la chor\u00e9graphe.\u00a0 On sort de ce show, d\u2019ailleurs, en se demandant si c’\u00e9tait de la musique ou de la danse. Je ne le sais toujours pas, et ce n’est pas grave parce que ce \u00e0 quoi j\u2019ai assist\u00e9 \u00e9tait fantastique. Quand on n’a pas l’impression qu’un m\u00e9dium domine l’autre, on ne se pose pas la question, c’est tout.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

Programme<\/strong><\/p>\n\n\n\n

-Alvin Lucier: Silver Street Car for the Orchestra , 1988<\/strong> pour pour triangle amplifi\u00e90
-Gert Aertsen: On to somewhere near , 2017<\/strong> – 2019<\/strong> pour pour 5 tubes d’aluminum
-Stellan Veloce: A giant blowing machine or a pocket tin sandwich , 2021<\/strong> pour pour 5 musiciens avec harmonicas diatoniques et m\u00e9gaphones
-Didem Co\u015fkunseven: Music for Holding Present, Intervention 1 , 2023<\/strong> pour improvisation pour synth\u00e9tiseur modulaire, timbales amplifi\u00e9es, fl\u00fbte basse et \u00e9lectronique
-Didem Co\u015fkunseven: Music for Holding Present, Intervention 2 , 2023<\/strong> (commande de Ictus et Ircam-Centre Pompidou) pour pour synth\u00e9tiseur modulaire et guitare \u00e9lectrique
-Pauline Oliveros: Rock piece , 1979<\/strong>
-Pauline Oliveros: Teen age piece , 1980<\/strong>
-Pauline Oliveros: Environmental dialogue , 1975<\/strong> – 1996<\/strong>
-Gert Aertsen: On to somewhere near , 2017<\/strong> – 2019<\/strong> pour pour 1 tube d’aluminium
-Didem Co\u015fkunseven: Music for Holding Present, Intervention 3 , 2023<\/strong> pour Pour des sons fixes, fl\u00fbte basse, timbales, guitare \u00e9lectrique et clavier, improvisation avec rhombe<\/p>\n\n\n

Publicit\u00e9 panam<\/span>
<\/div><\/div>\n\n\n\n

<\/p>\n\n\n\n

POUR ACHETER VOTRE BILLET, C\u2019EST ICI!<\/a><\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

Holding Present, a collaboration between choreographer Ula Sickle and the Brussels contemporary music ensemble Ictus, is a performance where music and dance merge into a powerful collective gesture. On stage, three musicians and four dancers share the same space, blurring the boundaries between bodies and instruments. The piece explores how an individual movement can become a common act. Inspired by past and present protest movements, Holding Present thus becomes a stage reflection on community: a space where shared presence, common rhythm, and mutual listening sketch out a form of collective action. Interweaving existing and newly commissioned works by Alvin Lucier, Pauline Oliveros, Didem Coskunseven, and Stellan Veloce, the work proposes another way of inhabiting the present together, in a rare physical and symbolic intensity.<\/p>\n\n\n\n

Here is what Jeffrey Stonehouse, artistic director of Semaine du Neuf, has to say about it:<\/p>\n\n\n\n

\u201cCo-presented by L\u2019Agora de la danse and Le Vivier, Holding Present is a production featuring three musicians and four dancers on stage, but the performers share the same space and the boundaries between disciplines disappear. The dancers become musicians, the musicians become dancers, and they perform works by renowned artists such as Alvin Lucier and Pauline Oliveros. I saw this show for the first time in Paris, and it moved me deeply. I found this way of working to be incredibly poetic, very different from what we currently do here in Montreal. Here, we tend to work with a choreographer, but there is still a distinction between what is done musically and what is accomplished by the choreographer. You leave the show wondering whether it was music or dance. I still don’t know, and that’s okay because what I saw was fantastic. When you don’t feel that one medium dominates the other, you don’t ask yourself the question, that’s all.”<\/p>\n\n\n\n

Program<\/strong><\/p>\n\n\n\n

-Alvin Lucier:\u00a0Silver Street Car for the Orchestra\u00a0,\u00a01988<\/strong>\u00a0for\u00a0for amplified triangle
-Gert Aertsen:\u00a0On to somewhere near\u00a0,\u00a02017<\/strong>\u00a0–\u00a02019<\/strong>\u00a0for\u00a0for 5 aluminum tubes
-Stellan Veloce:\u00a0A giant blowing machine or a pocket tin sandwich\u00a0,\u00a02021<\/strong>\u00a0for\u00a0for 5 players with diatonic harmonicas and megaphones
-Didem Co\u015fkunseven:\u00a0Music for Holding Present, Intervention 1\u00a0,\u00a02023<\/strong>\u00a0for\u00a0for modular synthesizer Improvisation for amplified timpani with bass flute and electronics
-Didem Co\u015fkunseven:\u00a0Music for Holding Present, Intervention 2\u00a0,\u00a02023<\/strong>\u00a0(commission of Ictus and Ircam-Centre Pompidou)\u00a0for\u00a0for modular synthesizer and electric guitar
-Pauline Oliveros:\u00a0Rock piece\u00a0,\u00a01979<\/strong>
-Pauline Oliveros:\u00a0Teen age piece\u00a0,\u00a01980<\/strong>
-Pauline Oliveros:\u00a0Environmental dialogue\u00a0,\u00a01975<\/strong>\u00a0–\u00a01996<\/strong>
-Gert Aertsen:\u00a0On to somewhere near\u00a0,\u00a02017<\/strong>\u00a0–\u00a02019<\/strong>\u00a0for\u00a0for 1 aluminum tube
-Didem Co\u015fkunseven:\u00a0Music for Holding Present, Intervention 3\u00a0,\u00a02023<\/strong>\u00a0for\u00a0for fixed sounds, bass flute, timpani, electric guitar and keyboard, improvisation with bullroarer<\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n