BIBLIOgraphic Resonances

” When the public space disappears, the body is no longer enough to transport the person. Walking helps to protect against these attacks on the intelligence, the body, the landscape, even the urban landscape. Every walker is a guardian who watches to protect the ineffable. ” The unspeakable, including dance.

Rebecca Solnit, The Art of Walking

” The score has no edges. It is so extensive that any event, whether concomitant or not, distant or nearby, visible or invisible, infiltrates, affects, and redirects it at any time. […] Scores are everywhere. They can take on an infinite number of forms and natures. […] Even a shopping list or a calendar, for example, are scores. [… And] the score, even the “found” one, already there, ready made in the literal sense, is said to be the product of a specific cultural activity, a construction, an extremely skilful interplay of intervals, multiplied reference points.

Laurence Louppe, Poetic of contemporary dance (the continuation)

” … while all kinds of thoughts agitated me strongly, because on a walk many sudden ideas, flashes of light and illuminating illuminations, occur and enter spontaneously so that they can be exploited and elaborated with care “.

Robert Walser, The Walk

Exploring the movements, strolls, drifts in the art of the late twentieth century and in particular the contemporary research of Gabriel Orozco, Francis Alÿs and the Stalker laboratory.

” Then appears a universe where displacement is not only the means of a spatial translation but also a psychological fact, a tool of fiction or the other name of production. This cineplastic that makes the city its theatre of operations, these movements with multiple resonances, trace the face of a world where reality is a process. “

Thierry Davila, Walking, Creating

” Without this learning of the nomadic state I might not have written anything. “

Nicolas Bouvier, Reflections on space and writing

“… you still walk, you still hang around. You invent complicated journeys, full of prohibitions that force you to take detours. You’ll see the monuments. You count churches, equestrian statues, pissotières, Russian restaurants. You will see the great works along the banks, near the doors, the streets ripped open like ploughed fields, the pipes, the buildings that we bring down. “

Georges Perec, A man who sleeps

The traveller brings back objects, stories from his trip like the gypsies every year to the village of Macondo ” were sharing new inventions. They started by bringing the magnet. A large gypsy with a bushy beard and sparrow’s hands, who answered in the name of Melquiades, publicly demonstrated in public what he himself called the eighth wonder of the learned alchemists of Macedonia. “

Gabriel Garcia Marquez, One Hundred Years of Solitude

to feel the aura of a thing is to give it the power to look up. “

Walter Benjamin, The work of art at the time of its technical reproducibility

Representation makes manifest what would otherwise be unnoticed; […] It is a re-taking of the immediate. [which] also indicates an echo as in ”res-ponse, re-tain”. Representation can be thought of as the act of re-gathering what is lost and as resistance to what is dispersed. “

Frédéric Laupiès, Philosophical lesson on representation

” the actor is a traveller about whom no certainty is possible. He himself questions the certainty of his past. All pasts are possible. It is continuously erased by the wind of its march. “

Marc François, Where is Theatre going? under direction of J-P. Thibaudat