Art stations fundation - by Grażyna Kulczyk

Studio Słodownia +3
Cie Gilles Jobin Text to Speech performance

Gilles Jobin

Jean-Pierre Bonomo, Gilles Jobin, Richard Kabore, Sung-Im Kweon, Susana Panadès Diaz, Rudi Van der Merwe

Cristian Vogel

light design 
Daniel Demont

March 6th 2008, Bonlieu Scéne nationale, Annecy

Cie Gilles Jobin, Genewa

Bonlieu Scéne Nationale, Annecy / Théâtre de la Ville, Paryż

Gilles Jobin benefits of a triennal associated support (2007 to 2009) from the City of Geneva, the Canton of Geneva and Pro Helvetia/naaawith the support of: La Loterie Romande / Gilles Jobin is an associated artist of Bonlieu Scène nationale, Annecy

We would like to warmly invite our audience to another (after "Steak House", which was presented in the Old Brewery in 2005) meeting with the Swiss choreographer – Gilles Jobin.

Just a month after the world premiere, the Old Brewery's audience will have the opportunity to see Gilles Jobine's latest production. This time, the artist turns his attention to words, for, the words become the cementing element of the spektacle's structure – a kind of a golden thread present throughout the performance. The texts and the voices heard from the stage are manipulated in an unconventional manner (via an artificial speech production with the help of voice synthesizing softwear).

The TTS (text to speech) program, converts the written to the spoken. Some of the software's configurations allow to transform phonetic transcription into vocal form, or mix and link arbitrary word fragments and phonemes in a random order, as well as generate a voice model which bears its own characteristics. The very operation of the transmission manipulation becomes an audio-interaction in its own right. Intonation, accent, sentence type, or an informative statement form a connection between the dancers and the choreographer.

Hazardous Speech: Text to Speech is Gilles Jobin's attempt to decontextualize the most concrete and permanent elements of his movement language and, further, thoroughly analyze them assuming different angles. What remains, is the contemplation of violence – physical, as well as political.

The reflection over the phenomenon of violence is present in the spectacle's every particle. The body-screen, media language-physical effort relations are a chance to explore new spaces, in which dancers and the movement are a part of a bigger organizm.

The first game could be described as post-situational. It is the triggering element, at the same time being the mechanism setting the whole event into motion. Voices, languages, historical and topical texts downloaded from the Internet are manipulated to a point in which they constitute a monolithic, poetic environment.

A filled with humor, ambiguous sway affects our perceptive aptitude. This is a precess much resembling the image-body relation, which has already been developed in Jobin's earlier works (e.g. Braindance, 1999). Waves, frequencies, loops, samples, mixes and interactions are subjected to that particular, fueled by manipulation and impact approach. All this constitutes a kind of materialized hearing in its own right, which unfolds itself and is manifested via diverse means during the spectacle.

Gilles Jobin (choreographer/dancer) Gilles Jobin's first choreography (A + B = X created for three dancers, in Lausanne, in 1997) made him internationally famous and granted him the status of one of the most sonorous representatives of the young generation of choreographers, as well as a role-model for and the voice of independent Swiss artists (the head of the Geneva-based, contemporary dance creators' association since 2003).

Since his debut, Jobin created a number of pieces while his residency period in The Place Theatre in London (where, amongst other things, he got famous for his collaboration with a renowned British performer and video artist Franco B.), as well as while his cooperation with various French theatres (Braindance in Nyon, 1999; Moebius Strip in Théâtre de la Ville/ Paris, 2001) and in Berlin (Under construction, Schaubuehne, 2002).

His consecutive premieres in Europe, America and Africa brought him publicity and international critique's acknowledgement. In 2003, Gilles Jobin decided to take Balet du Grand Théâtre's (Geneva) commission and created a spectacle for 21 dancers, at the same time moving his own theatre and Parano Foundation (established by him in England) back to Switzerland. In that period, he also created Delicado (a choreography for 20 female dancers from the Portugesse Gulbakian Ballet).

In 1999, Gilles Jobin was granted the Zuricher Theater Spektakel award for his artistic work, and in 2000 he was one of the laureates of the Vaudoise Foundation's prize promoting artistic personalities. A year later, as the first Swiss choreographer, Jobin got a prestigeous award for young talents granted by a Canadian SACD associacion. In 2004, he was honoured for the whole of his artistic achievements by the departament of culture of the Vaud Canton. Also in 2004, he became the resident-choreographer in Théâtre Arsenic in Lausanne.

A numeber of films on Gilles Jobin's work and spectacles were created and presented during various festivals, and a documentary about the Moebius Strip spectacle was granted the first prize on the Dance Screen festival in Monaco, as well as the festival in Bergamo. It was also nominated to the main prize during the ON CAMERA festival in Lincoln Center in New York (2004).

In 2002, a book devoted to Gilles Jobin's artistic achievements was published by Pro Helvetia (a Swiss culture foundation) in the Artists series