Conversation with Claudia von Alemann

A conversation between Claudia von Alemann and Stoffel Debuysere focused on the presence and importance of sound in their work, after a screening of Die Reise nach Lyon (DE, 1981).

In the context of Courtisane festival 2024 (Programme The Skin of The World) and the research project Echoes of Dissent (KASK & Conservatory / School of Arts Gent).

Die Reise nach Lyon
Claudia von Alemann, DE, 1981, 16mm to DCP, 112′

Elisabeth wanders the sleepy streets of Lyon, following in the footsteps of socialist and feminist writer Flora Tristan. Carrying with her the writer’s diary and a tape recorder, she tries to reconstruct what Tristan might have felt when she walked the same streets, shortly before her death, at 41, in 1844. Filmed before Lyon’s Italianate facelift and its listing as a World Heritage Site, this remarkable exploration of feminist history portrays a working-class city where traces of the past persist, the leprous facades revealing wrinkles that hark back to the Canut revolts of the 19th century and the roundups during the Second World War. But it is not so much the image that marks this film as it is the sound. It is surprisingly present and all the more vivid because it plays on scarcity, somewhat like the image yet in an even more radical way. Everything happens as if the city were an echo chamber, as if each scene were a sounding board for everyday sounds floating between strangeness and familiarity, past and present. The violin, which Elisabeth plays in the final scene as a resolution to her search, makes her grasp the meaning of resonance, which is first of all that of her footsteps in the city. “I could hear the sound of my own footsteps. I moved and my steps echoed through the street. The echo of Flora’s footsteps, a century and a half later: the echo of her passage.” By listening attentively, Elisabeth is able to recognize, in the humblest of sounds, the strongest of resonances: the imprint of the past underneath the echoes resounding in the present.

“In Die Reise nach Lyon, a woman historian, fascinated by the diary kept by Flora Tristan during the last few months of her life, refuses the traditional way of ‘looking’ at history and gets caught up in a complex, multi-layered pattern of reverberations. History and ‘her’ story become a network of resonances. One life/ voice imprints in another. The process of social change, instead of being read by academic detectives in stuffy archives, resound in a space between a sound and its similar echoes. A visually fascinating film which is nevertheless one of the few real sound films ever made.” (Paul Willemen)

Conversation with Annik Leroy & Manon de Boer

A conversation between Annik Leroy, Manon de Boer and Stoffel Debuysere focused on the presence and importance of sound in their work, after a screening of In der Dämmerstunde – Berlin – de l’aube à la nuit (Annik Leroy, BE, 1981) and Resonating Surfaces (Manon de Boer, BE, 2005).

In the context of Courtisane festival 2024 (Programme The Skin of The World) and the research project Echoes of Dissent (KASK & Conservatory / School of Arts Gent).

In der Dämmerstunde – Berlin – de l’aube à la nuit
Annik Leroy, BE, 1981, 16mm to DCP, 67′

In some ways reminiscent of Claudia von Alemann’s Die Reise nach Lyon, which came out in the same year, Annik Leroy’s debut film follows the filmmaker as she wanders through the ghostly twilight zones of Berlin in search of a past that no longer exists. Another act of remembering as spatial experience, a journey that traverses space to become, in time, a peregrination. “With this film I try to retrace my journey, my story through the ruins, neighbourhoods, and streets of Berlin. I filmed the dialogue that took place between the city and myself, the wanderings in the old neighbourhoods (Moabit, Kreuzberg, Wedding), places where you can still find most of the traces of the past, or rather what’s left of them.” Shot in a time seemingly far from today’s neoliberal explosion in Berlin, the film depicts the city’s crumbling surfaces and desolated wastelands as the silent witnesses of a tragedy that has left deep wounds. A tragedy that finds resonance in literary and musical fragments borrowed from the work of Gottfried Benn, Else Lasker-Schüler, Witold Gombrowicz, Peter Handke, Gustav Mahler and Richard Wagner. From the crunching sounds of Leroy’s footsteps on the snowy shores of the Landwehrkanal, to overheard murmurations of faceless voices on the U-Bahn train and loudspeakers announcing the end of the line, the film renders the city as a vast cavern of sound, impregnated with present absences and absent presences that haunt its phantasmic landscapes.

“We discover the sounds of a claustrophobic city and get lost between loudspeakers announcing dead-end streets. We overhear the constant murmur of foreign languages trying to find a voice in a wasteland of asphalt, street lights and the Berlin Wall, marked by darkness and scars of the past. ‘Just don’t stare at a wall’, declares Gombrowicz, and the film moves on. Leroy searches for traces of World War II as well as for love and humanity. It’s a contradiction, but it contains the darkened German soul: how to make an emphatic image of this place?” (Patrick Holzapfel)

Resonating Surfaces
Manon de Boer, BE, 2005, 16mm to digital, 39′

Cries of death open Resonating Surfaces: the cry of Lulu from Alban Berg’s eponymous opera, and that of Maria, a character in Wozzeck, another opera by the same composer. In the resonance of these vocal timbres, distinct degrees of life-affirmation arise, even and above all in the face of death. Brazilian psychoanalyst Suely Rolnik wrote: “It is a recognition that, even in the most adverse situations, it is possible to resist the terrorism against life, against its desiring and inventive potency, and to stubbornly go on living. Together, Lulu’s and Maria’s cries convey this lesson and contaminate us.” This sonic experience lies at the heart of Resonating Surfaces; an experience that launched a personal movement of liberating effect, de-anesthetizing the marks of the trauma caused by dictatorship and imprisonment. This experience is conveyed by Rolnik, whose story we hear unfolding throughout the film, as the use of the voice gradually shifts from timbre to language. Made in close collaboration with violinist and composer George van Dam, Resonating Surfaces situates Rolnik in the context of the sounds and sensations of São Paulo, her native city, as well as the intellectual atmosphere of 1970s Paris, the city of her exile. In its open and subtle orchestrations of the spaces between image, sound and voice, the film’s formal inventiveness seems to resonate with Rolnik’s appeal to open our resonant bodies to the forces of the world’s otherness and, above all, to tune our hearing to the affects that each encounter mobilizes.

“One could say that de Boer’s films explore the contradictory relation between perception (based on the recognition of preordered forms) and sensation (meaning the open-ended contact with the flux of physical phenomena) — of the kind that Suely Rolnik also discovers in aesthetic experience… De Boer recently cited Rolnik’s distinction between ‘the sensation of the ‘world-as-force-field’’ and the ‘perception of the ‘world-as- form’’, in order to identify what is at stake in her films. Responding to the kinship between her own artistic sensibility and Rolnik’s philosophical approach, de Boer made Rolnik the subject of
Resonating Surfaces, the work that best reveals the political stakes of de Boer’s art.” (TJ Demos)

Conversation with Pedro Costa about sound and music

Conversation with Pedro Costa about sound and music from Courtisane on Vimeo.

A conversation between Pedro Costa and Stoffel Debuysere focused on the presence and importance of sound and music in his work, in light of the performance of Daughters of Fire at Courtisane festival 2024. Friday 29 March 2024, as part of the Ciné-sessions at the film departement of KASK & Conservatory / School of Arts Gent and in the context of Courtisane festival 2024 and the research project Echoes of Dissent (KASK & Conservatory / School of Arts Gent)

Shadows of the Unseen / Movement Radio 39

39th episode of “Shadows of the Unseen” for Athens. Aired June 2024

1. Lionel Marchetti & Ensemble Un, Méandre(s) – 33 X 1 mn et quelques poussières… Part 1 (from Méandre(s), Camille Auburtin, 2022)
2. John Avery, Almost (from Jessica in the Room of Lights, performance by Forced Entertainment Theatre Co-Operative, 1984)
3. Bret Parenteau, Andy Rudolph & Kelsey Braun, Ste. Anne (from Ste. Anne, Rhayne Vermette, 2021)
4. Damāvand, As Long As You Come To My Garden Part 1 (inspired by The color of the pomegranates, Sergei Parajanov, 1968)
5. Roger Doyle, Rapid Eye Movements (for music theatre group Operating Theatre, 1978-80)
6. Fred Frith, Backwaters (from Gambling, Gods and LSD, Peter Mettler, 2002)
7. Hero Wouters, Eva’s Dood (from Een zaak van leven of dood, George Schouten, 1983)
8. Antonio Zepeda, El Sueño / El Canto De Yohalli (from In Necuepaliztli in Aztlan, Retorno a Aztlán, Juan Mora, 1990)
9. Jed Spears, Sleep Tight (from Sleep Tight, Barbara Duifjes, David Geary, 1983)
10. Excerpt from Nekomimi (Jun Kurosawa, 1993)
11. Claudio Rochetti, Non Essere Freddo (for contemporary theatre research collective Fondazione Lenz, 2018-2021)
12. Alex Zhang Hungtai & Pierre Guerineau, On The Run (from I Was a Simple Man, Christopher Makoto Yogi, 2021)
13. Damāvand, As Long As You Come To My Garden Part 6 (inspired by The color of the pomegranates, Sergei Parajanov, 1968)
14. John Avery, That Marilyn Walk (from 200% & Blood Thirsty, performance by Forced Entertainment Theatre Co-Operative, 1987)
15. Natalia Beylis, Conjuring Voices (created to accompany an exhibition of work by Helen McDonnell and Tara Plunkett, 2013)

Shadows of the Unseen / Movement Radio 38

38th episode of “Shadows of the Unseen” for Athens. Aired May 2024

1. Marceau Boré, Générique (from Schoon Donker, Katrien Feyaerts, 2019)
2. Hero Wouters, Tussen de Muren (from Tussen de muren, Willem-Koos Broer, 1980)
3. Sheida Gharachedaghi, Awareness of The Dying (from Chess of the Wind, Mohammad Reza Aslani, 1976)
4. High Risk, Genesis (from Woman to Woman, Donna Deitch, 1975)
5. Riccardo Sinigaglia, Urbana (from Correnti Magnetiche, multimedia project with visual artist Mario Canali, 1989)
6. Tibor Szemző, Eckermann otthon (from Meteo, Monory Mész, 1990)
7. Michele Mercure, Beside Myself (from the play Beside Herself, Pocahontas To Patty Hearst, Independent Eye Theatre Company, 1989)
8. Ralph Lundsten, Helgat Varde Ditt Namn (from the performance Fadervar, choreographed by Ivo Cramer, 1972)
9. Peter Scherer, Camera X (from the performance Essey And Pannes, choreographed by Amanda Miller, 1983)
10. Ennio Morricone, Che Strano (from Una lucertola con la pelle di donna / A Lizard in a Woman’s Skin, Lucio Fulci, 1971)
11. Dominic Frontiere, Hammersmith Is Out (Main Title) (from Hammersmith Is Out, Peter Ustinov, 1972)
12. Cavern of Anti-Matter, Terminal Metric (from In Fabric, Peter Strickland, 2018)
13. Philip Sanderson, Spy Garden / Tale Chase (from Telephone Music, 1986)
14. Natalia Beylis, Lost (composed to accompany the exhibition LOST, Annie Hogg, 2023)
15. Lucy Johnson, Vehicle (composed to accompany the installation Propelling Her Shiny Vehicle, Katrina Cowling, 2019)
16. Dan Hayhurst, Monday Service (from Flux Gourmet, Peter Strickland, 2022)