Photo: Catherine Legault Duty
Designer sound and music composer for the stage (one owes him in particular the music of original Consent, at the theatre Jean-Duceppe), Mykalle Bielinski will also sign his own creations, focusing on the song. This graduate of UQAM in game like ” put the music in the scene otherwise.” “It is as if I had transposed all of my training as a performer in the way that I sing. I have been very interested in the vocal game, the game of the word also. “His concerts prefer an immersive environment in a frontal view with the public and” create drama in the music.”
Portrayed as a sensory experience, a performance poetry, Myth is the result of his first creation, Gloria, a multimedia opera that a former colleague of Having to qualify in February 2016, ” the pure object of beauty “. Fascinated by the Bulgarian songs, Mykalle Bielinski orchestra, in the bilingual show that will be Free Space, a choir female to five voices (Émilie Monnet, Florence Blain Mbaye, Laurence Dauphinais, Elizabeth Lima and itself).
“Gloria was an ode to the sacred, to transcendence, but of an individual point of view, ” explains the designer. There, I wanted to bring it to the collective level of human experience, speaking of life, of death. I wanted to me interested in the origins of the spirituality. “
The young artist explores through her work a spiritual dimension disassociated from the religion, rather, it has been discovered by the poetry, the philosophy, the art project Themselves in what transcends us, moving us to respond to the “impermanence of things” and the anguish of death : “it is a little of what I wanted to do with Myth. “She defines spirituality as” a warning to the world, which is focused on the quality of relationships with oneself, with others and with the greater than oneself “.
“But in the show, I never want to lose sight of the connection with the human, she adds. I really wanted that interpreters of Myth are the artisans of space and time, they set up the whole narrative. Unlike Gloria, where there was a lot of relay between the organic and technology, I wanted to take the bet to fully explore the presence. The voice naked. “With the exception of an electronic keyboard, the sound of church organ, used to create “drones” music, all compositions, inspired by the sacred music, are sung a cappella.
In the poetic text written by Mykalle Bielinski, the word is ” ritualized, worshipped in a certain way. Therefore, there is a lot of repetition, mantras, chanting. And it plays among the people, in a report immersive but open. “With the spectators sat on cushions on the ground.
This transformation of the relationship scene-room promotes an atmosphere conducive to meditation. “In general, I try to create a rupture at the beginning of the show for people to disconnect from their everyday lives. And they are quietly led to [give up] the resistance, the judgements. There is something meditative that installs. “
For the musician, the song is an exercise in meditative. “It is an exercise of introspection and sacrifice. I really try to be vigilant in the contact that I create with the public. “
And Mykalle Bielinski sees in the form of choir ” a self-surrender and listening to others “, which echo what she wanted to express in Myth. “The song is a mythical space, where we can exist with all sorts of states, sensations. “
The time of the lord
Myth also speaks, obviously, of this ” story founder ressassé in the rituals, which is part of the collective unconscious “. The myth as a space of imagination. “With the myths of creation, the end of the world, it is connected to the beginnings and the ends. And as my performance is about death, there was this need to create of the beginnings also, to create the universe. “
Mykalle Bielinski has a passion for the vision of the Romanian philosopher Mircea Eliade, drawing from his essay Aspects of the myth. “By the myth, the human can connect to a time primeval, which is cyclical, to something greater than himself. There are [defeated] so his ego, the individuality in which it is taken these days. The myth, that is what is unifying with the creation in full. [Eliade] said in substance that when one is in the time of myth, it is in the time of the lord of dreams, where anything is possible. And connect to this non-time, that is what gives meaning to life. It is that fact that one dissociates oneself from our anxieties in relation to our finitude. “She regrets that you touch rarely, now, in this suspended time. Except in the theatre, precisely.
The designer also notes that our mortality is a subject that we prefer not to talk about it. “So that one never has the impression of being able to engage with them. And if one is unable to cope with the death, I think that one has difficulty to cope with life. “
“In the end, she concludes, speaking of death, I take a detour in order to be able to find what gives meaning to a life. And after me, it is the creation of a meeting, celebration, joy, giving, love. “And of course, the beauty of the music.
Concept, music, text, staging : Mykalle Bielinski. Dramaturgy : Sophie Devirieux. With Mykalle Bielinski, Florence Blain Mbaye, Laurence Dauphinais, Elizabeth Lima and Émilie Monnet. An associate production, THE GREENHOUSE – arts. The 7 and 8 February, at the salle Multi, Québec, and from 12 to 16 February, in Free Space