BRUNO by Alix Eynaudi

This article is still under construction.

Credits

The fellowship of BRUNO is composed of Hugo Le Brigand, Mark Lorimer, Cécile Tonizzo, Alix Eynaudi Costumes An Breugelmans Light design Bruno Pocheron Sound design Paul Kotal

special thanks to Clara Amaral, Samuel Feldhandler, Sabina Holzer

production management mollusca productions for boîte de production

coproduction Tanzquartier Wien, Kaaitheater

residencies MDT Stockholm, Kunstencentrum BUDA

boîte de production is supported by Kulturabteilung der Stadt Wien, BMKOES / Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport, ACT OUT, einem Projekt der IG Freie Theaterarbeit, gefördert aus Mitteln des BMEIA, co-funded by the Creative Europe Programme of the European Union through Life Long Burning

thanks to Bears in the Park for the gracious gift of a floor

Annoucement text

BRUNO, a follow spot, an anticipation, a point of dew, an erotic assembly, a blinking dance. À cheval between languages, BRUNO an oscillation, une figure qui disparaît, the displacement of a name, a dance of lights that light and dance: the sensuality of these dances crosses fields of picnics. BRUNO, a literary dance piece, un océan d’amour, a library, a choir, a cut, a pause, un bébé. A meditation, a fling, a house-hole, a house holder, a hold-up of a house. BRUNO strips the writing away from the dance, in chains, in lights, beaming, vaping, a somber extravaganza folded into a room.

BRUNO emerges from the mist like a stranded ship, a sigh left there. It cascades away into a pause. A piece of hole. Something that doesn’t happen. A breeze of what didn’t take place. A haunting. To let ourselves be haunted, to let ourselves be singed, to sigh, together, to stop, to blow, to turn around, to be sad, together. To not do much. To step aside, to let a rumbling moment pass, to weave our thoughts against a break, to nestle inside of a break. To brake, together. To rest, to be absent from an event, together. To caress a thought. To rest, to stay there. To not worry about a flow, to do things in vain. To not write scores, protocols, to wait, to cry, to stop, to not fill, to hold back the filling, to dance next to our shoes. To open a hand and let go, to not hold back, to lighten, to tenderly support, to relieve.

BRUNO is an emanation of a piece without an end, a cloth of friendships, of loves cobbled together. Located in a recently (or perhaps never) uninhabited linguistic space, BRUNO unfurls, unfolds its over-exposures.

A collaborative design

• 

  Le Far°, Nyon

• 

  Halle G, TQW

• 

  Le Far°, Nyon

• 

  Speakers on tubes

• 

  Inside

• 

  Structure

• 

  Kaaitheater, Brussels

Software tools

Here you can find software tools developed for the piece.

Technical Rider

Stage

We bring:

Grey dance floor 12,8m wide by 12m deep, laid back to front, not taped

We need: Truss + pipes structure

   • 4 point truss, black w = 2 m x h = 2 m 
   • 4 x base plates, black

Black alu pipes

   • 4m x 3 
   • 3 m x  9
   • 2,5 m x 4
   • 2 m  x 10
   • 1,5 m x 5
   • 1m x 4

Clamps (Black alu or Gerüstschellen)

   • fixed 90° clamps x 20
   • rotating clamps x 40

Light

We need:

   • 1 x 5 Kw fresnel ->1 ch @ 5 Kw
   • 5 x 2 kw fresnels → 5 ch
   • 25 x 1 kw fresnels → 25 ch
   • 20 x Pars 64 CP62 → 20 ch
   • 25 x profiles → 20 → 14 ch
   • 20 x asymmetric floods → 10 ch
   • 74 x 2 kw channels + 1 x 5 kw channel
   • Multicores + splitters on the floor inside the structure
   • Power supply for the 3 stadium lamps 1 x 63A or 1 x 32 A
   • 32 A extensions for the 3 stadium lamps

color filters lee 501, lee 502, lee 708 diffusion filters R114, R132

We bring:

   • 3 x Sitecom HIT 2 Kw Stadium lamps FOH right or left
   • powercon connectors between lamps and ballasts
   • 32A CEE connectors on the ballasts. The lamps use 2 phases each.
   • PSA-631 power distribution box, that has to be positioned at the lighting control desk
   • Lighting control Lanbox LCX (5 pins DMX connector)
   • MIDI controllers + cables
   • soundcard
   • computer
   • router
   • USB hub
   • external touchscreen

Sound

We bring:

   • 15 to 20 small speakers on 5 channels (series of 3 to 4 speakers), fitted to the alu pipes by a rubber brace, connected with HiFi cables 0,75 square mm
   • soundcard
   • MIDI controllers
   • computer
   • USB hub

7 separate outputs from soundcard: 5 channels for the small speakers + 2 channels for subwoofers

We need:

   • Amplifiers inside the structure, ideally with binding posts connectors for bare wires.150w 16 Ohm
   • 2 subwoofers (position to be defined)
   • Long sound multicore  with stage box from soundcard to amps
   • 7 adapters jack to XLR from soundcard to multicore

Premiere and tour dates

8th and 9th of October 2021 at Tanzquartier Wien

9th and 10th of March 2022 at Kaaitheater Brussels

10th and 11th of August 2022 at Le Far° Nyon

Upcoming:

Fall 2023 in Vienna (tbc)

Texts

What if "Bruno", the title of Alix Eynaudi's show, referred not only to the lighting designer Bruno Pocheron, but also to another Bruno, lurking in the shadow of the show? Or in other words, if by an act of language - this post - we linked to Bruno Pocheron another genius of chiaroscuro: Giordano Bruno, tortured on a stake in 1600 for heresy? This heresy, as the philosopher Laurent de Sutter reminds us (Magic, une métaphysique du lien, Puf, 2015), consisted in likening magic to a factory of links over which religion had reserved its hold. It was ultimately for challenging religion's monopoly that Bruno was burned alive. Giordano Bruno's theory of magic is thus a theory of the rebel movement that democratizes and redistributes the capacity to bind beings. And isn't this what Alix Eynaudi proposes to us? On the stage, Alix and Bruno have gathered all the available lighting fixtures. At intervals, the Kaaitheater is plunged into the deepest darkness. The audience can hear itself breathe. This light and sound sculpture, in the shadow of which the bodies of Hugo Le Brigand, Mark Lorimer and Alix Eynaudi glide, brush against each other, meet, tumble over each other, entangle each other... in a word, unbind and rebind, is it not a form of contemporary pyre? So that the spectacular is itself staged, its necessary tool, the one that allows to "shed light on" becomes an element of decor. Neither overhanging, nor hidden, it is compacted and enthroned on stage. A kind of magic tree, a sum of arms to articulate the anti-spectacular? The choreographer becomes a "magician" in that she proposes to observe how beings can connect in other ways. Three bodies configure for us an ABC of possible ways to evolve in symbiosis, to give shape to another type of efficiency than the one praised by the reason of moderns. The stage is inhabited like a microcosm that makes us feel that it is not the individual dancers that are important but their dynamic capacity to link up. Creation is a matter of relationships, therefore a matter of links to be recomposed. Not this "social link", sociological invention which tends to normalize the contingency, in the name of which the States imposed by force its opposite: "the social distanciation". The evoked link would bring us back rather to speak about "necessity" than about "society" because to create, it is never to assign to a body its place but on the contrary, to make possible new links. One can only "be" in company. "All the actors who become what they are 'in the dance of relationship' would require each other in unexpected collaborations and combinations. (...) We become together or not at all" reminds us Donna Harraway. Without any abracadabra, "Bruno" has this efficiency proper to the magic rite. Dancing and offering us a liberating post-covid pass. There are other ways of obliging each other than those shaped by command (law and/or war). There is the infinite reserve of possibilities contained in artistic practices, open to all gestures that seek to detach us from any forced "mancipation" (this Latin and archaic designation of attachment). If "Bruno" is the first name, his last name could well be "Emancipation". And we leave the room hoping that this being in relation that has appeared before our eyes has recognized us, the seated audience, as one of his own with and towards whom to "make movement".

Vincent Messen

BRUNO Factual Description by Jan Maertens