julie mondor

Teaching & Artistic Guidance

About transmission

It is the obvious that causes us to forget to question.

E. Husserl

I’m an artist in constant research and an enthusiastic teacher!

I share my thoughts on the role of sound in new circus shows with new generations of artists in my teaching at the Académie Fratellini and in workshops with Superstrat. (Parcours d’Expérience Artistique).

It’s through the experience of a true transversality supported by a sharp and demanding reflection that I seek to create new bridges between scenic writing and the sound arts.

Some examples of my work

Académie Fratellini

École Supérieure des Arts du Cirque

I’ve put together an itinerary that covers all three years of training.

I conduct since 2014 reflections and experiments on the sound arts and musical dramaturgy. I develop CFAs’ curiosity for all kinds of music, sound poetry and musical theater. We collaborate with the CRR d’Aubervilliers and P.Pannier’s improvisation class.

I give them the tools to be able to understand a musical structure and elaborate their future act’s music, with sound creators and/or composers. I accompany them all the way to the exit, for the flights, so that their number can be musically accomplished and reflect all our research.

SUPERSTRAT

Giving body to sound and ears to movement

Workshop for improvising and circus musicians, dancers and performers: devising new musical writing and dramaturgy.

The idea is to create encounters between circus artists and musicians, to move away from simple juxtaposition. The musical will not be at the service of the visual, it will be at the service of the performance.

Dare to confront music and movement and discover new writing dynamics together.

Enable the development of creative processes.

Giving keys and knowing how to sculpt the performance space.

Create a new, shared, available space of choice and connected independence.

Let all bodies produce movement, sound, geometry and space.

Develop listening skills and sound analysis.

Understand the difference between hearing, listening and perceiving.

Using the structure of the music as a starting point, write a journey through space and actions, attempting to offer a “setting in volume and space” of the music with the bodies involved.

ADIAM 95

Val d'Oise music school forum. 2012. ADIAM 95.

This project brought together seven music schools in the Val d’Oise and the Cherche-trouve circus school.

Based on a piece of music lasting between 5 and 7 minutes, the aim is to experiment with a new physical way of interpreting and moving through it, by exploring a scenic work based on a new relationship between the body, space, music and its structure. The artistic approach is to emphasize the musician’s role in scenic writing.

Grabbing and un-grabbing, passing instruments back and forth in a strange sort of “round”.

Sitting/standing to play, why and when? Trying to get two people to sit down on a chair, and managing to do so while continuing to play.

Playing in postures that are “impossible” a priori, or in any case novel (lying down, leaning back to back, with someone between you and the instrument…).

Using the structure of the music as a starting point, how to write a spatial itinerary, actions, and attempt to offer the music a “setting in volume and space”?

julie mondor Teaching & Artistic Guidance