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  • Research

    The fundamental principle of IRCAM is to encourage productive interaction among scientific research, technological developments, and contemporary music production. Since its establishment in 1977, this initiative has provided the foundation for the institute’s activities. One of the major issues is the importance of contributing to the renewal of musical expression through science and technology. Conversely, sp…

    • Research Topics
    • The STMS Lab
    • Research Teams
    • Sound Systems and Signals: Audio/Acoustics, InstruMents
    • Acoustic and Cognitive Spaces
    • Sound Perception and Design
    • Sound Analysis-Synthesis
    • Sound Music Movement Interaction
    • Musical Representations
    • Analysis of Musical Practices
    • Projects
    • Sound Workshop
    • The Musical Body
    • Creative Dynamics
    • Finished Projects
    • Musique/Sciences Collection
  • Creation

    IRCAM is an internationally recognized research center dedicated to creating new technologies for music. The institute offers a unique experimental environment where composers strive to enlarge their musical experience through the concepts expressed in new technologies.

    • Composers & Artists in Studio
    • "I am in blood" for Sixteen Musicians and Live Electronics
    • Lucie Antunes in studio
    • Deena Abdelwahed in the studio
    • "Transfer" for 10 Musicians and Electronics
    • L'Annonce faite à Marie
    • In Ex Machina
    • Jazz Ex Machina
    • Improvise cum machina 1/2
    • Improvise cum machina 2/2
    • Like Sound, Like Flesh
    • Silent Talks
    • Music-Fictions
    • Artistic Research Residency
    • Artistic Residencies: The Blog
    • Rendez Vous 20.21
    • Season 2022.23
    • Seasons from 1996 to present
    • ManiFeste-2022 Website
    • ManiFeste festival from 2012 to 2022
    • L’Étincelle, IRCAM’s journal of creation
  • Transmission

    In support of IRCAM's research and creation missions, the educational program seeks to shed light on the current and future meaning of the interactions among the arts, sciences, and technology as well as sharing its models of knowledge, know-how, and innovations with the widest possible audience.

    • 2022.23 Training Courses
    • Max, Max for Live
    • OpenMusic
    • Modalys
    • TS2 and Partiels
    • Sound spatialization
    • From PureData to audio plugins
    • Sensors, Interfaces, and Interactive Machine Learning
    • Other training programs
    • Practical Information
    • Advanced Programs
    • Cursus Program on Composition and Computer Music
    • Supersonic Chair
    • Master ATIAM
    • Sound Design Master's Program
    • Music Doctorate
    • AIMove Master
    • School Programs
    • Studios of Creation
    • Mixed-Music
    • Artistic and Cultural Education
    • Career Discovery Visit
    • Images of a Work Collection
    • ManiFeste-2022, the Academy
  • Innovations

    At the center of societal and economic concerns combining culture and information technologies, the current research at IRCAM is seen by the international research community as a reference for interdisciplinary projects on the sciences and technologies for sound and music, constantly exposed to society’s new needs and uses.

    • The IRCAM Forum
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  • La Fabrique des monstres ou Démesure pour mesure








Thu 8 February 2018,
and
Fri 9 February 2018,
8:30 p.m.
L'Hexagone, scène nationale Arts Sciences de Meylan
Edit
Creation
Théâtre






La Fabrique des monstres ou Démesure pour mesure

Edit






Premiere 2018
Edit






What would Frankenstein be today? When Marie Shelley wrote her modern Prometheus two-hundred years ago, the climate was drastically modified by a volcanic eruption. With a few friends on the edge of Lake Geneva, she played at telling scary stories.

In La Fabrique des monstres, Jean-François Peyret directs actors locked up in a theater because of a climactic problem – two actors used to theater and film, Jeanne Balibar and Jacques Bonnaffée, two young artists, Joël Maillard and Victor Lenoble, accompanied by a musical machine imagined by Daniele Ghisi, based on an uncontrollable algorithm.

This work will premiere at the Théâtre Vidy-Lausanne before its performance in Bobigny during ManiFeste-2018.

Jean-François Peyret conception
Daniele Ghisi musical composition, commissioned by IRCAM-Centre Pompidou
Robin Meier IRCAM Computer Music Design
With Jeanne Balibar, Jacques Bonnaffé, Victor Lenoble, Joël Maillard

Edit
  • https://www.theatre-hexagone.eu/la-fabrique-des-monstres
A Théâtre Vidy-Lausanne, Compagnie TF2 Production. An Ircam-Centre Pompidou, Hexagone – Scène Nationale des Arts Sciences Meylan, Estive – Scène Nationale de Foix et de l’Ariège, Théâtre de Caen Coproduction. With the support of MC93 – Maison de la culture de Seine-Saint-Denis, Bobigny, Communauté universitaire Grenoble Alpes, IDEX Université Grenoble Alpes.
  • © Mathilde  Olmi
    © Mathilde Olmi
  • © Mathilde  Olmi
    © Mathilde Olmi
  • © Mathilde  Olmi
    © Mathilde Olmi
  • © Mathilde  Olmi
    © Mathilde Olmi
  • © Mathilde  Olmi
    © Mathilde Olmi
  • © Mathilde  Olmi
    © Mathilde Olmi
  • © Mathilde  Olmi
    © Mathilde Olmi
  • © Mathilde  Olmi
    © Mathilde Olmi
  • © Mathilde  Olmi
    © Mathilde Olmi
  • © Mathilde  Olmi
    © Mathilde Olmi
  • Jean-François Peyret  © Jaquie Bablet
    Jean-François Peyret © Jaquie Bablet
  • Feu au lac, illustration pour le spectacle La Fabrique des monstres ou Démesure pour mesure © Jean-François Peyret
    Feu au lac, illustration pour le spectacle La Fabrique des monstres ou Démesure pour mesure © Jean-François Peyret
  • Daniele Ghisi  © Bernard Clerc-Renaud/Musica Nova avec l'autorisation de la Fondation Royaumont
    Daniele Ghisi © Bernard Clerc-Renaud/Musica Nova avec l'autorisation de la Fondation Royaumont
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