DEVOCELLE / Audrey
Atsara is a duo composed of Roland Devocelle and Audrey Rocher, working
in the field of plastic arts, sound arts and corporeal art.
one artistic discipline into another, our work expands, combines,
provokes, inspires, enters into resonance. Sound art and visual art
first creation in 2000 was the beginning of our common work with sounds
and gestures, and of our interest in the relations between sound arts
and other artistic expressions.
As one of us initially comes from a musical formation, and the other
one from drama and clown art, our collaboration is enriched by these
differing approaches to performing arts, sound art, dramaturgy, relation
with the audience, and improvisation. Our research in the field of
plastic arts is likewise nourished by this background.
2002 to 2007, we have made several artistic collaborations in France
and abroad based on musical and mulitdisciplinary improvisation with
musicians (Luc Bouquet, Wilehad Grafenhorst, Jeff Gburek…),
painter (Felip Coste), clown (Bulo), dancers (Fine Kwiatkowski, Ephia/Cie
Djalma…), puppet and shadow-theater artist (Raphaël Thibault,
Cie Scolopendre), writer (Virginie Lou)…
the same time, we also practiced and researched in the visual arts,
through photography, video art, performances (in the frame of our
sound and visual performance “odbo”), and recently, in
2008, with kinetic light installations, “les lucioles”
Devocelle is born in1969 in Valence (F-26).
Audrey Rocher is born in 1977 in Agen (7-47).
After several years of nomadic way of life, we settled in the South
West of France, where we live and work since 2008.
to ALL the sounds. Do not reject any of them. Noises of
Self-taught musician and composer, I practise
improvisation with musicians but also within the framework of multi-field
meetings ( with clown, dance, painting). In my various artistic activities
(music, photography, collages...), my work consists of a rediscovery
of the fundamental aesthetic elements (form, volume, tone quality,
etc...) in order to project my sensitivity, my interior necessity.
This projection is accompanied by a will to react to the moment, to
find the accuracy of the moment. Since spring 2004, I chose an itinerant
way of life, in order to discover new horizons, to exchange differently,
meet artists and to find other manners of making music (in the country,
at the inhabitants’ homes...).
The itinerant life is the logical continuation of my artistic orientation:
it is simply the improvisation applied to my daily life.
clown, slide trombone, pocket trumpet, tickler of sounds, “pouêt”
with words, follower of the grommello, finder of stones, of moving
images and photographs.
Free improvisation brings me to my inner self : acting in the moment,
without back thought, living at present, “making fire of any
wood”, living in my body, leaving the imaginary, the invisible
freely acting on me.
My practice of improvisation has been enriched by creating clown
and musical shows for
collaboration with Roland Devocelle): performing for children, a very
reactive audience, demands a good feeling of the audience's energies.
the power pick, laughters of children, squeakings of door, rumbling
of thunder, humming of engine... Cherish these fugitive musical expression
of the world. Record them in order to prove your love.
close your eyes and listen again. Rediscover them. New. Different.
Detached from their source, they acquire their own existence, they
become autonomous. Almost material.
Play with them, without moderation. Cut, stretch, reverse, assemble,
mix, etc... until obtaining a musical daydream, a sound impression
of the world, a thousand and one noises tale or any other sound proposal
according to your taste.
invite friends and taste.
Felip COSTES e-mail
interested by photography then by video, Felip Costes worked for many
years as a cameraman and assembler. Then he worked on the first French
T.V. programs entirely created in synthesized images and was specialised
in the characters’ animation.
Felip Costes devotes all its artistic expression on painting and gives
there his personal sensitivity to the world. The black of his inks,
the balance of his compositions confers on its work a plastic force
where the movement occupies a dominant role.
attracted by new artistic forms, he takes part in performance shows
with improvising musicians, and paints in public large pictures -
painting becomes part of music. These performance shows strongly influence
its gestural work.
site internet: www.felipcostes.com
Born 12.09.1963 in Béziers, France (Champeau Hospital)
When he is 15 years old, his music teacher notices his virtuosity
with the wooden flute.
When he is 16 years old, after deep thought, he chooses drums and
Hard Rock. Then he goes to Philippe Charneux’s and Jean-Pierre
Julian’s class (School Dante Agostini and JAM).
After several experiments of rock'n'roll, Latin music and jazz, he
enters the Musical Information Center in Paris, in 1993. There he
meets George Pasczynsky and plays with various musicians, good musicians
but not very known.
1994, finds a “job” of serious patient at the Lapeyronie
Hospital in Montpellier where he experiments in the hematology service.
is back to music in 1996, entering the AJMI (Avignon – France)
and taking part in Louis Sclavis’ project "Passades"
in 2000. Then, he plays with musicians of jazz and improvised music:
Christian Lavigne, Remi Charmasson, Guillaume Séguron, Michel
Proud, Laure Donnat, Bernard Santacruz, Lionel Garcin.
In 2005, he is involved in various projects of creation in jazz and
talk about playing, but it is the Cosmic Play which is playing!
imagine stories, times and spaces,
We create them, live them, we laugh, we suffer, we die,
at the end, what remains?
Just feelings that will now exist for ever, and that however we will
never be able to find again.
the idea that we brought in the Sound a little bit of this other world,
people who create their lives at the size of their Dreams:
Just feelings in eternity.
on the grounds of the Titans.
The Titans play.
Other intruments: Massage,
Antony MAUBERT e-mail
Antony Maubert was born in 1974. While he was studyingscience he also
learned to play clarinet at the music school of Clermont-Ferrand (Conservatoire).
In Lyon, he decided to devote solely to interpreting and composing
music. He received a master in musicology and studied music theory
(harmony, counterpoint, analysis, esthetics) at the conservatoire
regional (music school).
was one of the founding members and general secretary of Création
Musicale XXI, a society of composers from Lyon. Then he moved to the
CNSM in Paris. He also attended the composition cursus at the CCMIX
(former UPIC workshops, created by Ianis Xenakis). There he specialised
himself in acousmatic and electronic music with Gerard Pape, Julio
Estrada and Jean-Claude Risset.
Recently, he has worked in theatre, performance, and installation.
Through these multidisciplinary projects he has been able to establish
a dialogue with artists from other backgrounds and the human experience
that he thus has had is at the core of his recent creations.
He is currently working in improvisation, in an either strictly electronical
way or combining digital processing with non musical, non traditional
Daisuké TERAUCHI e-mail
The Composer, Performer and Improviser Daisuke Terauchi received his
Master's Degree from Elizabeth University of Music in Hiroshima in
1999 studying under Koji Tomotani and Jo Kondo. He is presently studying
under Klaas de Vries and lives in Amsterdam.
He creates works in various mediums including chamber music, live
performance and improvisation. He has produced 2 CD's entitled "Thread,
works by Daisuke Terauchi" [HALE-006CD] and "Wordless poetry,
short pieces for voice by Daisuke Terauchi" [solacd-001]. In
2003, he was invited to attend the Daegu International Contemporary
Music Festival "Young composers in the world" in Korea,
where his work "Ivy for flute and piano" was performed.
He has taught at Shiratake elementary school and Elizabeth University
has recently assisted in the writing of an ear training book entitled
"The Musician's Ear" by Jo Kondo.
He has recently assisted in the writing of an ear training book entitled