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    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…

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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.

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  • Providence








Thu 2 March 2017,
8:30 p.m., Fri 3 March 2017,
8:30 p.m., Sat 4 March 2017,
8:30 p.m., Sun 5 March 2017,
4 p.m.
Théâtre des Bouffes du Nord
Prices

Full : 25 €
Discount Price : 22 €
IRCAM Card : 18 €

Edit
Creation
Théâtre






Providence

Edit






Premiere
Edit






In Providence, Olivier Cadiot recounts four successive tales: a character lashes out at the author who created and then abandoned him; a young man suddenly transforms himself into an old woman; a young artist becomes disillusioned on his way to the capital; a senile old man holds a conference in order to prove that he still has all of his faculties. After Le Colonel des Zouaves and Un mage en été, Laurent Poitrenaux will double his efforts and clone himself in order to play all of these characters as a true virtuoso. For more than twenty years, Ludovic Lagarde has constructed a singular theatric vocabulary around the writing of Olivier Cadiot in which sound research, in collaboration with the IRCAM, holds a central place. Providence traverses modernity and is told as a personal story.

Olivier Cadiot Text
Ludovic Lagarde Director
With Laurent Poitrenaux
Antoine Vasseur Scenography
Sébastien Michaud Lighting
Marie La Rocca Costumes
Cécile Kretschmar Make-up and Hair
Sébastien Naves IRCAM Computer Music Designer
David Bichindaritz Sound Production
Michael Salerno Image Design
Cédric Scandella Graphic Design
Sophie Engel, Marion Stoufflet Dramaturgy
Stéfany Ganachaud Choreographic Advisor
Jean-Luc Plouvier Musical Advisor
Éric Delpla Decorator
Céline Gaudier Assitant Director

The novel Providence (in French) is published by the éditions P.O.L.

Edit
A La Comédie de Reims-CDN production. A Théâtre national de Strasbourg, CDN Orléans/Loiret/Centre, IRCAM-Centre Pompidou, MC93 – Maison de la Culture de Seine-Saint-Denis, LE CENTQUATRE-Paris coproduction. Co-organized by C.I.C.T – Théâtre des Bouffes du Nord.
  • Olivier Cadiot  © Jean-Luc Guérin
    Olivier Cadiot © Jean-Luc Guérin
  • Providence  © Pascal Gely
    Providence © Pascal Gely
  • Providence  © Pascal Gely
    Providence © Pascal Gely
  • Providence  © Pascal Gely
    Providence © Pascal Gely
  • Providence  © Pascal Gely
    Providence © Pascal Gely
  • Providence  © Pascal Gely
    Providence © Pascal Gely

Also discover

Providence

Premiere by the author Olivier Cadiot, directed by Ludovic Lagarde
Published by P.O.L. in the beginning of 2015, Providence by Olivier Cadiot is not a text written for the stage, even less with the idea that computer music take it over. It is a four-sided tale, writ…
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