Thierry De Mey
Documents
Lien Internet
(lien vérifié en septembre ).
Bibliographie
- « Thierry De Mey », cahier spécial, Mouvement n° 59, avril-juin , coédition Mouvement et CECN.
- Bruno LETORT, Musiques plurielles - essai, Editions Balland, Paris, , pp.
- Thierry DE MEY, « Thierry De Mey : Musiques de Tables – processus rythmiques : distinction et entropie », extrait d’un entretien avec Thierry De Mey, propos recueillis par Jean-Luc Plouvier pour le festival Musica en , dans play ! rainy days – Philharmonie Luxembourg, , Editions Philharmonie Luxembourg,
- Thierry DE MEY, « How to know the dancer from the dance… », dans De la Différence des Arts – textes réunis par Jean Lauxerois et Peter Szendy, Paris, Editions L’Harmattan/Ircam-Centre Pompidou, Coll. « Les Cahiers de l’Ircam », , p.
- Thierry DE MEY, propos recueillis par Jean-Luc Plouvier pour le festival Musica à Strasbourg, Bruxelles, juillet, , interview en ligne sur le site de l’ensembleictus(lien vérifié en octobre ).
- Thierry DE MEY, interview de Marie Cornaz, dans le programme « Counter phrases » du 14 juin , Paris, Cité de la musique, Ensemble Ictus, dir. Georges-Elie Octors, , p. , interview en
Thierry De Mey (, Bruxelas) é um compositor de música e realizador de cinema, focado em filmes de dança.
Figura emblemática da cena belga desde os anos 80/90, é co-fundador dos quartetos Maximalist! e Ictus. Escreveu para vários grupos musicais e colaborou com vários coreógrafos: Anne Teresa De Keersmaeker, Bob Wilson, Wim Vandekeybus, William Forsythe, Michèle Anne De Mey, Iztok Kovac. Com os coreógrafos Anne Teresa De Keersmaeker, Wim Vandekeybus e Michèle Anne De Mey ele foi bem mais do que um compositor, mas um colaborador íntimo na invenção de &#;estratégias formais&#;.
A intuição do movimento ocupa um lugar central no seu trabalho: De Mey desenvolveu um conceito de &#;Música de gestos&#; para o qual elaborou um vocabulário e um sistema de notação (&#;Musique de Tables&#;, &#;Silence must be!, &#;Light Music&#;,&#;), apresentado por todo o mundo por quartetos e outros intérpretes de música. O postulado da sua escrita musical e fílmica consiste em &#;recusar a conceção do ritmo como uma simples combinação de durações no interior de uma grelha temporal, mas concebê-lo antes como sistema gerador de ímpetos de quedas e de novos desenvolvimentos&#;.
As suas realizações c
DE MEY Thierry ()
This composer, film director and percussionist was born in Brussels in De Mey’s meeting with Henri Van Lier, professor at the IAD (a Brussels film school), was to be the catalyst for his music and film work. One aspect of Van Lier’s lessons has stayed with De Mey throughout his career: artistic engagement should be supported by an interest in mathematical structure. Van Lier introduced De Mey to the music of Steve Reich. Reich’s rhythmic shifts, the clear structure and the chaotic sounds of the city formed important sources of inspiration for De Mey. His meeting with Fernand Schirren, a percussionist with the Ballet of the Twentieth Century, was a second determining factor for De Mey’s artistic development. He met Schirren through his sister Michèle-Anne, who studied dance at the Mudra, Maurice Béjart’s ballet school. Schirren had a worked-out vision of rhythm and movement: rhythm as movement. His “philosophy of rhythm” was embedded in the duality of two onomatopoeic words in Dutch, the “hé” (pronounced “heh” and roughly equal to the questioning or incredulity of the American word “huh”) and the “boem” (pronounced and meaning “boom”). The “hé” refers to the be
Musique de tables, d’après la partition de Thierry de Mey, conception et interprétation d’Éléonore Auzou-Connes, Emma Liégeois et Romain Pageard
Développé à partir de la pièce éponyme en sept minutes pour trois percussionnistes sur table, créée en , ce spectacle tient autant de la performance musicale que théâtrale. Les acteurs l’ont découverte quand ils étaient encore élèves à l’école du Théâtre National de Strasbourg. Séduits par son potentiel scénique, alors qu’ils n’étaient pas musiciens, ils l’ont traduite en gestuelles, rythmiques et images. Résultat : un fascinant trio à six mains.
© Raoul Gilbert
Thierry de Mey, compositeur, entre autres, pour les chorégraphes Anne Teresa de Keersmaeker et Michèle Anne de Mey, a inventé une notation spécifique avec dix-neuf façons de taper sur la table pour créer différents sons, donc autant de positions de mains codifiées dans un répertoire de symboles. «Au point de rencontre entre musique et danse, dit-il, le geste importe autant que le son produit.»
Ici, blanches, noires, croches, triolets et autres rythmes alternent avec des résonances mates ou aigües, selon que l’on frappe le bois, de la paume, du bout des do
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