Poésie polyglotte germanique / Anglais
5 janvier, 2011
Anglais:
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- 
how long does it take to
go over she went over to Mrs Smith’s the tide is going out I went on to say I went on to say go in and win go in and win!
Daniel Thomas
|
|
it’s fun to go for a swim I hope he went out it’s fun he jumped his son what kind of man is he? he sank in it’s fun to go for a swim |
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bilingue:
à travers les rues , les chemins a stream flows through the garden
Fall in the sky
-
the main thing
is to keep quiet this is idealism gone mad we were lucky to stay alive I keep a horseshoe for luck should I ? the main thing is to keep quiet the river is very high just now shall we get down? no we should for the new year to come
Daniel Thomas
www.polyglotte.org Une porte vers les langues
Daniel Thomas
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Index / Essais polyglottes: - Poésie polyglotte.
- Poésie polyglotte Europe / Esperanto.
- Poésie polyglotte Europe / Finnois.
- Poésie polyglotte Europe / Grec ancien.
- Poésie polyglotte Europe / Grec moderne.
- Poésie polyglotte germanique / Allemand.
- Poésie polyglotte germanique / Anglais.
- Poésie polyglotte germanique / Bernois.
- Poésie polyglotte germanique / Danois.
- Poésie polyglotte germanique / Hollandais.
- Poésie polyglotte germanique / Norvégien.
- Poésie polyglotte germanique / Suédois.
- Poésie polyglotte romane / Argot.
- Poésie polyglotte romane / Catalan.
- Poésie polyglotte romane / Corse.
- Poésie polyglotte romane / Créole.
- Poésie polyglotte romane / Espagnole.
- Poésie polyglotte romane / Italien.
- Poésie polyglotte romane / Langage bébé.
- Poésie polyglotte romane / Latin.
- Poésie polyglotte romane / Patois vaudois.
- Poésie polyglotte romane / Portugais.
- Poésie polyglotte romane / Provençal.
- Poésie polyglotte romane / Roumain.
- Poésie polyglotte slave / Polonais.
- Poésie polyglotte slave / Russe.
- Poésie polyglotte slave / Serbocroate.
- Poésie polyglotte slave / Tchèque.
y: Curriculum en anglais
5 janvier, 2011
Daniel Thomas, curriculum en anglais
Daniel Dominique René Thomas was born in Lausanne in Switzerland in 1959.
He studied at the Faculty of Arts of the University of Lausanne at the same time as the Conservatory of Music. He is as well a self-taught painter.
He obtained a Bachelor of Arts (Greek, Latin and Philosophy) in 1984, with a dissertation on the Goddess of the Night and her Family in Hesiod’s Theogony. Since then he has studied and speaks numerous European languages and continues to study the literature of various European cultures.
In 1992 he obtained a prise in virtuosity for organ in the Conservatory of Lausanne.
He is now the titular organist of the Abbey of Montheron, near Lausanne and of the swedisch church in the priory of Pully.
He studied painting especially in the museums of London, where he lived for one year in 1980-1, and particularly in the British Museum. His paintings are shown regularly in Switzerland since 1983. These include « forest compositions », « passing melodies, » « Instants of looking, » in oil or acrylics, and can be compared with his musical compositions and improvisations.
He has given organ recitals in many European countries, notably Sweden, as well as in Mexico.
In his concerts, besides his repertory, he improvises music inspired by natural phenomenons: landscapes, mountains, lakes, water-games, flowers, birds, portraits.
At present (in 1998) he is studying composition and improvisation with Jaap Zwaart, in Holland, and studies music for chimes in the Dutch school for bell ringers in Amersfoort. He plays the chimes in Chantemerle in Pully near Lausanne.
He improvises also on the piano for the theater and radio (like a performance « jeux de fables », song and piano).
Démarche artistique Daniel Thomas
Research on the langage of the human being, in its essential unity, its way of expression, from its wild voice before the articulate speech, to the drawing on the walls of the grottes, to the words throwed in front of the world, to the shouted or sung sounds,to the rythms of the wild percussions.
In different forms, in other perceptions but yet with certain constants,identical, commun elements of contrast, relief, nuanciation, rythmic, articulation, stand out in these human langages.
A central element of unity of languages is the gesture : the gesture of arms, of hands in drawing, the gesture of the fingers, of the body in playing piano, the gesture of the lips, the tongue the respiration in speaking, the gestures in dancing. There are estonishing correspondances between these different gestures.
Work on musical writing and on improvisation in relation with perceptions coming from the universe, natural phenomens, living beings: a setting in resonance, in sounds yielding images, of beings like a mountain in its spectacular and mysterious presence, like the water in its infinite variations of shade, sounds, rythms, a setting in resonance of beings like the human person, portrait of this unbound, unknown space of the other facing you.
Improvisations with sonorous conglomerates and rythmical contrasts in correspondance with elements perceived in the sky, in the light, throught the eyes, inscribed in the memory. Improvisations on animals met with their so strange, other, non-human presence.
In practice, organ or piano recitals, or both, or also with other instruments (carillon, bells, gongs, birdcalls, various percussions) alone or in dialogue with a painter, a writer, an actor or a singer (improvisations in creativ communion with paintings or texts).
Scénario / Film « Tombent les masques » in english
15 décembre, 2010
Tombent les Masques: sous-titres anglais
continuité itw définitive
Continuité des interviews, Montage définitif
A painter, 50-odd models. Under the artist’s penetrating eye, the masks fall away. A device which offers the viewer a rare experience, sketching the portrait of several friendships, and at the same time a clever stratagem for getting closer to people and their peculiarities. What image does the other project to us? And we to the other? A relentless exploration of the theme of seeing, registering, hearing. A film about self-knowledge.
0001) 00:02:05:03 00:02:09:23 Duree :04:20 Lisibilite :76
Beneath the masks
0002) 00:03:35:17 00:03:39:01 Duree :03:09 Lisibilite :53
I come here from time to time,
and see the family get bigger.
0003) 00:03:39:11 00:03:42:14 Duree :03:03 Lisibilite :49
This family of ghosts,
or of presences, I don’t know.
0004) 00:03:43:00 00:03:48:12 Duree :05:12 Lisibilite :87
These faces are like apparitions.
A kind of dream.
0005) 00:03:48:16 00:03:53:15 Duree :04:24 Lisibilite :79
A presence, an absence…
vibrating in a particular way.
0006) 00:03:53:19 00:03:55:14 Duree :01:20 Lisibilite :28
It is a kind of shuddering.
0007) 00:03:55:18 00:03:57:21 Duree :02:03 Lisibilite :33
Each one in their own black square,
0008) 00:03:58:08 00:04:01:05 Duree :02:22 Lisibilite :46
it feels as if they were
a little bit stageing themselves.
0009) 00:04:04:23 00:04:08:08 Duree :03:10 Lisibilite :54
You see, that’s how painting starts,
0010) 00:04:09:01 00:04:10:09 Duree :01:08 Lisibilite :21
with a tearing.
0011) 00:05:28:13 00:05:30:20 Duree :02:07 Lisibilite :36
It’s a cloud in the beginning.
0012) 00:05:31:03 00:05:33:17 Duree :02:14 Lisibilite :40
Just a cloud… moving.
0013) 00:05:37:22 00:05:39:21 Duree :01:24 Lisibilite :31
Shapes in motion.
0014) 00:06:17:16 00:06:21:24 Duree :04:08 Lisibilite :69
Say I’m looking for landmarks,
0015) 00:06:22:03 00:06:24:24 Duree :02:21 Lisibilite :45
and at first I can’t see any.
0016) 00:06:29:01 00:06:32:01 Duree :03:00 Lisibilite :48
That’s why I talk about clouds.
0017) 00:06:41:02 00:06:43:19 Duree :02:17 Lisibilite :42
For me, the black surface, there,
0018) 00:06:45:06 00:06:49:14 Duree :04:08 Lisibilite :69
symbolizes an infinite space.
0019) 00:07:19:15 00:07:24:17 Duree :05:02 Lisibilite :81
I find that colours go straight
into the subconscious.
0020) 00:07:24:23 00:07:29:00 Duree :04:02 Lisibilite :65
It’s like sound.
You can’t close your ears.
0021) 00:07:29:20 00:07:32:04 Duree :02:09 Lisibilite :37
And you can’t not see the colours.
0022) 00:07:37:23 00:07:39:17 Duree :01:19 Lisibilite :28
You see, this black colour
0023) 00:07:40:22 00:07:43:00 Duree :02:03 Lisibilite :33
is an absorbing matter.
0024) 00:07:43:10 00:07:45:10 Duree :02:00 Lisibilite :32
It absorbs everything.
0025) 00:07:45:23 00:07:47:16 Duree :01:18 Lisibilite :27
The only thing that I leave,
0026) 00:07:47:20 00:07:52:08 Duree :04:13 Lisibilite :72
or that this blackness casts
0027) 00:07:53:00 00:07:55:05 Duree :02:05 Lisibilite :35
is this face,
0028) 00:07:56:06 00:08:00:00 Duree :03:19 Lisibilite :60
which expresses everyone’s inner life.
0029) 00:08:02:20 00:08:04:13 Duree :01:18 Lisibilite :27
Which is the soul.
0030) 00:08:21:02 00:08:25:07 Duree :04:05 Lisibilite :67
Maybe it started with an
important change in my life.
0031) 00:08:25:14 00:08:27:22 Duree :02:08 Lisibilite :37
A lost friendship.
0032) 00:08:28:01 00:08:31:14 Duree :03:13 Lisibilite :56
Since, I’ve wondered a lot about
the importance of friendship,
0033) 00:08:31:18 00:08:33:24 Duree :02:06 Lisibilite :35
and who could still be called
friends of mine.
0034) 00:08:34:03 00:08:38:11 Duree :04:08 Lisibilite :69
Well, I took the first around me,
who were there at that time.
0035) 00:08:38:16 00:08:40:11 Duree :01:20 Lisibilite :28
I was short of time,
0036) 00:08:41:11 00:08:43:11 Duree :02:00 Lisibilite :32
so I had to work at night.
0037) 00:08:43:20 00:08:48:21 Duree :05:01 Lisibilite :80
Thus I chose black as background,
0038) 00:08:49:21 00:08:52:17 Duree :02:21 Lisibilite :45
with the face looming out
0039) 00:08:52:22 00:08:54:19 Duree :01:22 Lisibilite :30
like a ghost,
0040) 00:08:55:00 00:09:00:16 Duree :05:16 Lisibilite :90
like a fantasy, a desire.
0041) 00:09:02:20 00:09:06:05 Duree :03:10 Lisibilite :54
I painted a few, but knew quite soon
0042) 00:09:06:09 00:09:09:00 Duree :02:16 Lisibilite :42
that I had to make a lot more
0043) 00:09:09:13 00:09:11:06 Duree :01:18 Lisibilite :27
and also that these pictures
0044) 00:09:13:17 00:09:16:05 Duree :02:13 Lisibilite :40
were searching for each other.
0045) 00:09:17:05 00:09:19:13 Duree :02:08 Lisibilite :37
They were dispersing themselves.
0046) 00:09:19:17 00:09:22:12 Duree :02:20 Lisibilite :44
At the same time they attracted
and repelled each other,
0047) 00:09:22:16 00:09:27:23 Duree :05:07 Lisibilite :84
It was an interactive game
between the paintings.
0048) 00:09:30:08 00:09:32:12 Duree :02:04 Lisibilite :34
So I went on,
0049) 00:09:32:21 00:09:36:04 Duree :03:08 Lisibilite :53
ignoring until where or when,
0050) 00:09:36:08 00:09:40:07 Duree :03:24 Lisibilite :63
and so a lot of time went by,
0051) 00:09:40:15 00:09:43:05 Duree :02:15 Lisibilite :41
Much changed inside myself,
0052) 00:09:44:10 00:09:46:08 Duree :01:23 Lisibilite :30
and on the canvas, too.
0053) 00:09:46:12 00:09:48:13 Duree :02:01 Lisibilite :32
There is quite a difference
0054) 00:09:48:18 00:09:51:06 Duree :02:13 Lisibilite :40
between the beginning and the end.
0055) 00:09:57:06 00:09:58:06 Duree :01:00 Lisibilite :16
I wanted
0056) 00:09:58:10 00:09:59:21 Duree :01:11 Lisibilite :23
to focus on the face only
0057) 00:10:00:00 00:10:04:07 Duree :04:07 Lisibilite :68
because it seemed to be
the most important thing then.
0058) 00:10:05:09 00:10:08:15 Duree :03:06 Lisibilite :51
The look, the skin of the other…
0059) 00:10:09:17 00:10:11:15 Duree :01:23 Lisibilite :30
I found that the face
0060) 00:10:13:03 00:10:16:14 Duree :03:11 Lisibilite :55
was indeed the most naked
part of ourselves.
0061) 00:12:19:20 00:12:20:20 Duree :01:00 Lisibilite :16
I started
0062) 00:12:21:02 00:12:23:11 Duree :02:09 Lisibilite :37
with close people,
0063) 00:12:23:21 00:12:26:14 Duree :02:18 Lisibilite :43
friends or aquaintances,
0064) 00:12:30:04 00:12:33:15 Duree :03:11 Lisibilite :55
And they became almost unknown,
0065) 00:12:33:21 00:12:35:17 Duree :01:21 Lisibilite :29
by painting them.
0066) 00:12:40:09 00:12:43:17 Duree :03:08 Lisibilite :53
It is harder to paint people you like,
0067) 00:12:43:23 00:12:47:01 Duree :03:03 Lisibilite :49
because you have already created
a picture of them,
0068) 00:12:48:01 00:12:50:19 Duree :02:18 Lisibilite :43
and you have
0069) 00:12:51:01 00:12:52:16 Duree :01:15 Lisibilite :25
to get over
0070) 00:12:53:20 00:12:55:05 Duree :01:10 Lisibilite :22
this illusion,
0071) 00:12:55:10 00:12:59:05 Duree :03:20 Lisibilite :60
this image from your memory.
0072) 00:13:00:24 00:13:05:08 Duree :04:09 Lisibilite :69
It’s obvious.
It’s like doing violence to the other,
0073) 00:13:06:17 00:13:16:12 Duree :09:20 Lisibilite :156
because I want to forget,
or get rid of everything I knew.
0074) 00:13:18:11 00:13:24:04 Duree :05:18 Lisibilite :91
I want to discover people
not as I know them, but as they are,
0075) 00:13:24:09 00:13:30:03 Duree :05:19 Lisibilite :92
as they are suddenly,
in a somehow constrained context.
0076) 00:13:31:02 00:13:33:01 Duree :01:24 Lisibilite :31
When one is posing,
0077) 00:13:34:10 00:13:37:24 Duree :03:14 Lisibilite :56
I feel as if the essence was coming out,
0078) 00:13:39:18 00:13:42:15 Duree :02:22 Lisibilite :46
well, the person who is inside,
0079) 00:13:44:22 00:13:46:14 Duree :01:17 Lisibilite :26
beneath the mask.
0080) 00:13:48:00 00:13:51:05 Duree :03:05 Lisibilite :51
Even if I’m only painting the mask,
the mask falls.
0081) 00:14:27:19 00:14:30:18 Duree :02:24 Lisibilite :47
He wasn’t looking at me.
He was looking beyond myself.
0082) 00:14:30:22 00:14:32:18 Duree :01:21 Lisibilite :29
I don’t know how to explain.
0083) 00:14:32:22 00:14:36:05 Duree :03:08 Lisibilite :53
He wasn’t staring into my eyes,
he was looking at my whole being.
0084) 00:14:36:14 00:14:39:14 Duree :03:00 Lisibilite :48
Sometimes he would linger
on a cheekbone, on the entire face,
0085) 00:14:39:18 00:14:42:03 Duree :02:10 Lisibilite :38
on something global,
or on minute details, I don’t know,
0086) 00:14:42:07 00:14:43:22 Duree :01:15 Lisibilite :25
And it made me ill-at-ease
0087) 00:14:44:01 00:14:46:17 Duree :02:16 Lisibilite :42
to see all that I try
to show to the outer world.
0088) 00:14:46:21 00:14:51:13 Duree :04:17 Lisibilite :74
Finally, what this portrait really
shows is the reverse of the medal.
0089) 00:14:51:17 00:14:53:06 Duree :01:14 Lisibilite :24
For instance there is something
0090) 00:14:53:20 00:14:58:10 Duree :04:15 Lisibilite :73
very contemplative, almost sad,
0091) 00:14:59:02 00:15:03:21 Duree :04:19 Lisibilite :76
or nostalgic. I see something
very nostalgic in that face.
0092) 00:15:06:21 00:15:09:07 Duree :02:11 Lisibilite :39
Something a little endless, infinite,
0093) 00:15:09:12 00:15:11:08 Duree :01:21 Lisibilite :29
I don’t know… something…
0094) 00:15:14:08 00:15:19:10 Duree :05:02 Lisibilite :81
I think it is a dimension which
I have in me, well, yes,
0095) 00:15:19:18 00:15:22:23 Duree :03:05 Lisibilite :51
I feel it very strongly,
and it troubles me a little
0096) 00:15:23:07 00:15:28:22 Duree :05:15 Lisibilite :89
to see that… after such a short
time, this is what appears there.
0097) 00:15:32:03 00:15:35:01 Duree :02:23 Lisibilite :46
When posing, I felt that
there was a…
0098) 00:15:35:15 00:15:38:24 Duree :03:09 Lisibilite :53
Knowing Daniel, I could figure out
0099) 00:15:40:07 00:15:44:09 Duree :04:02 Lisibilite :65
that he wasn’t going to paint me
0100) 00:15:45:03 00:15:46:11 Duree :01:08 Lisibilite :21
in a superficial manner,
0101) 00:15:46:15 00:15:50:03 Duree :03:13 Lisibilite :56
that he would look for what was inside.
0102) 00:15:50:15 00:15:54:08 Duree :03:18 Lisibilite :59
So it wouldn’t be a portrait
where I would recognize myself.
0103) 00:15:54:13 00:15:56:23 Duree :02:10 Lisibilite :38
And it’s true,
I didn’t recognize myself at first.
0104) 00:15:57:02 00:15:59:15 Duree :02:13 Lisibilite :40
I found it difficult
to recognize myself,
0105) 00:15:59:19 00:16:02:13 Duree :02:19 Lisibilite :44
for when I was posing,
0106) 00:16:02:17 00:16:07:01 Duree :04:09 Lisibilite :69
we talked a lot,
and we laughed quite much indeed.
0107) 00:16:07:05 00:16:08:17 Duree :01:12 Lisibilite :23
And what I see eventually
0108) 00:16:08:22 00:16:11:03 Duree :02:06 Lisibilite :35
is that the portrait
is very serious, very hard.
0109) 00:16:11:07 00:16:15:12 Duree :04:05 Lisibilite :67
That was surprising.
I hadn’t imagined this at all.
0110) 00:16:16:00 00:16:19:16 Duree :03:16 Lisibilite :58
Inevitably, I’m interested
0111) 00:16:19:24 00:16:21:11 Duree :01:12 Lisibilite :23
in the surface, too.
0112) 00:16:21:17 00:16:26:00 Duree :04:08 Lisibilite :69
I wonder what people think about me
0113) 00:16:26:05 00:16:29:02 Duree :02:22 Lisibilite :46
when they don’t know me
and see only the portrait.
0114) 00:16:30:14 00:16:32:23 Duree :02:09 Lisibilite :37
As I was posing,
0115) 00:16:33:17 00:16:37:17 Duree :04:00 Lisibilite :64
I wondered too
0116) 00:16:38:12 00:16:41:02 Duree :02:15 Lisibilite :41
about my own disappearance.
0117) 00:16:42:07 00:16:47:00 Duree :04:18 Lisibilite :75
I thought: well, this portrait
0118) 00:16:49:09 00:16:53:08 Duree :03:24 Lisibilite :63
will live longer than me.
0119) 00:16:53:24 00:16:55:04 Duree :01:05 Lisibilite :19
Me?
0120) 00:16:55:21 00:16:59:24 Duree :04:03 Lisibilite :65
As far as I’m concerned,
I don’t recognize myself at all.
0121) 00:17:00:03 00:17:02:13 Duree :02:10 Lisibilite :38
Indeed I picture myself, too,
0122) 00:17:02:19 00:17:05:07 Duree :02:13 Lisibilite :40
so there may be things I don’t see.
0123) 00:17:05:17 00:17:08:06 Duree :02:14 Lisibilite :40
Because at that moment,
I wasn’t really myself,
0124) 00:17:08:11 00:17:11:16 Duree :03:05 Lisibilite :51
as I was undergoing something.
0125) 00:17:12:06 00:17:14:19 Duree :02:13 Lisibilite :40
We are transformed
a little by other people,
0126) 00:17:15:22 00:17:19:16 Duree :03:19 Lisibilite :60
so that I was myself and
Daniel Frank too, in some way,
0127) 00:17:19:20 00:17:24:22 Duree :05:02 Lisibilite :81
because he was very close.
So I was an image of him as well.
0128) 00:17:27:05 00:17:30:06 Duree :03:01 Lisibilite :48
For me, the fact
that it had to be in the dark
0129) 00:17:31:05 00:17:33:19 Duree :02:14 Lisibilite :40
was quite difficult.
0130) 00:17:37:09 00:17:41:03 Duree :03:19 Lisibilite :60
As I’m rather a day creature,
0131) 00:17:42:22 00:17:44:19 Duree :01:22 Lisibilite :30
it sets me in an unfamiliar context.
0132) 00:17:44:23 00:17:47:17 Duree :02:19 Lisibilite :44
As if I went to Hell,
0133) 00:17:47:21 00:17:51:06 Duree :03:10 Lisibilite :54
or to the North Pole,
when there’s no sun.
0134) 00:18:07:15 00:18:08:23 Duree :01:08 Lisibilite :21
It’s like guns, in a way,
0135) 00:18:09:13 00:18:11:23 Duree :02:10 Lisibilite :38
because you’re facing your own portrait.
0136) 00:18:12:02 00:18:16:14 Duree :04:12 Lisibilite :71
Then what do you see?
Purple skin, all that’s repressed,
0137) 00:18:17:15 00:18:21:16 Duree :04:01 Lisibilite :64
all that you can’t bear
in yourself, there, it’s…
0138) 00:18:22:04 00:18:30:16 Duree :08:12 Lisibilite :135
The energies, what happens inside
a photograph can be neutralized,
0139) 00:18:33:11 00:18:35:16 Duree :02:05 Lisibilite :35
but you can’t neutralize a portrait.
0140) 00:18:38:04 00:18:40:04 Duree :02:00 Lisibilite :32
Sometimes I don’t recognize anything.
0141) 00:18:40:23 00:18:43:15 Duree :02:17 Lisibilite :42
It’s like a jigsaw
which isn’t assembled.
0142) 00:18:43:20 00:18:45:19 Duree :01:24 Lisibilite :31
I don’t see who it may be,
0143) 00:18:45:23 00:18:48:01 Duree :02:03 Lisibilite :33
and when I find out, I’m amazed
0144) 00:18:48:08 00:18:52:05 Duree :03:22 Lisibilite :62
because it seems as if
he had turned on the right switch
0145) 00:18:52:11 00:18:56:11 Duree :04:00 Lisibilite :64
and drawn out… I think our face
is extremely mobile.
0146) 00:18:56:15 00:18:58:18 Duree :02:03 Lisibilite :33
One doesn’t really see it,
yet it is.
0147) 00:18:58:22 00:19:00:03 Duree :01:06 Lisibilite :19
As if he had managed
0148) 00:19:00:09 00:19:04:09 Duree :04:00 Lisibilite :64
to fix a moment that nobody really sees.
0149) 00:19:04:13 00:19:06:21 Duree :02:08 Lisibilite :37
As if he had switched
on the right « pause » switch,
0150) 00:19:07:00 00:19:09:16 Duree :02:16 Lisibilite :42
or five or six « pause » switches,
0151) 00:19:10:02 00:19:14:01 Duree :03:24 Lisibilite :63
to build the portrait, the face.
0152) 00:22:19:05 00:22:20:07 Duree :01:02 Lisibilite :17
One of the hardest
0153) 00:22:20:22 00:22:25:03 Duree :04:06 Lisibilite :67
and at the same time
happiest portrait to make
0154) 00:22:25:07 00:22:27:05 Duree :01:23 Lisibilite :30
was that of my father.
0155) 00:22:27:09 00:22:29:11 Duree :02:02 Lisibilite :33
Because it’s the image, the face
0156) 00:22:32:08 00:22:34:14 Duree :02:06 Lisibilite :35
I’ve known from the longest time
0157) 00:22:37:15 00:22:39:15 Duree :02:00 Lisibilite :32
and which I have certainely idealized.
0158) 00:22:41:02 00:22:42:06 Duree :01:04 Lisibilite :18
And also, sometimes,
0159) 00:22:42:17 00:22:44:11 Duree :01:19 Lisibilite :28
he would look at me
0160) 00:22:44:15 00:22:46:07 Duree :01:17 Lisibilite :26
with such amazement.
0161) 00:22:46:14 00:22:49:09 Duree :02:20 Lisibilite :44
Who’s painting me right now?
My son, or I don’t know…
0162) 00:22:54:03 00:22:57:24 Duree :03:21 Lisibilite :61
Because suddenly,
you’re entering in life’s mystery
0163) 00:22:59:08 00:23:00:22 Duree :01:14 Lisibilite :24
Who is the other?
0164) 00:23:02:19 00:23:07:05 Duree :04:11 Lisibilite :71
You see, who are you?
What is he/she made of?
0165) 00:23:07:10 00:23:08:23 Duree :01:13 Lisibilite :24
What is his/her history?
0166) 00:23:12:21 00:23:17:00 Duree :04:04 Lisibilite :66
Now I’ve rediscovered him as a friend.
0167) 00:23:17:11 00:23:19:01 Duree :01:15 Lisibilite :25
No longer as a father.
0168) 00:23:19:10 00:23:22:06 Duree :02:21 Lisibilite :45
These are beautiful moments.
0169) 00:23:26:13 00:23:27:19 Duree :01:06 Lisibilite :19
We didn’t speak much,
0170) 00:23:27:24 00:23:33:24 Duree :06:00 Lisibilite :96
but we looked at each other and
that’s already quite an approach.
0171) 00:24:45:12 00:24:46:21 Duree :01:09 Lisibilite :21
The first day I arrived,
0172) 00:24:47:00 00:24:50:11 Duree :03:11 Lisibilite :55
I said to myself, in this armchair:
« What am I doing here? »
0173) 00:24:50:16 00:24:53:11 Duree :02:20 Lisibilite :44
Because it’s difficult to be there
0174) 00:24:54:14 00:24:57:14 Duree :03:00 Lisibilite :48
unable to move,
0175) 00:24:57:23 00:24:59:24 Duree :02:01 Lisibilite :32
or to do anything,
0176) 00:25:00:03 00:25:03:15 Duree :03:12 Lisibilite :55
and to be under Daniel’s gaze,
0177) 00:25:03:20 00:25:06:14 Duree :02:19 Lisibilite :44
he is very close, not behind a camera,
0178) 00:25:06:18 00:25:08:20 Duree :02:02 Lisibilite :33
or what else…
0179) 00:25:09:05 00:25:11:11 Duree :02:06 Lisibilite :35
And it’s going to last quite long,
0180) 00:25:12:16 00:25:14:08 Duree :01:17 Lisibilite :26
three hours or maybe more…
0181) 00:25:27:21 00:25:31:08 Duree :03:12 Lisibilite :55
He makes me confortable in the
armchair, then settles himself,
0182) 00:25:31:20 00:25:35:04 Duree :03:09 Lisibilite :53
and at the first brushstroke,
0183) 00:25:35:08 00:25:37:17 Duree :02:09 Lisibilite :37
I thought: I’m going to run away!
0184) 00:25:40:06 00:25:43:02 Duree :02:21 Lisibilite :45
Yes because I found his eyes
0185) 00:25:43:18 00:25:46:05 Duree :02:12 Lisibilite :39
so observing, searching,
0186) 00:25:46:17 00:25:48:19 Duree :02:02 Lisibilite :33
modelling already…
0187) 00:25:50:10 00:25:52:21 Duree :02:11 Lisibilite :39
Well, there was this unknown gaze.
0188) 00:25:53:01 00:25:55:20 Duree :02:19 Lisibilite :44
He searches straight away.
0189) 00:25:58:15 00:26:00:18 Duree :02:03 Lisibilite :33
It felt as if I was running away
0190) 00:26:00:22 00:26:02:18 Duree :01:21 Lisibilite :29
but inside myself,
0191) 00:26:03:01 00:26:05:08 Duree :02:07 Lisibilite :36
and became a very tiny thing,
0192) 00:26:05:17 00:26:07:11 Duree :01:19 Lisibilite :28
not bigger than a nut,
0193) 00:26:08:08 00:26:10:22 Duree :02:14 Lisibilite :40
that went hiding behind a rib.
0194) 00:26:13:06 00:26:15:04 Duree :01:23 Lisibilite :30
And after a while,
0195) 00:26:15:12 00:26:18:16 Duree :03:04 Lisibilite :50
I started to swell, to get bigger,
0196) 00:26:18:24 00:26:21:22 Duree :02:23 Lisibilite :46
until I felt I was back in the armchair again.
0197) 00:26:22:01 00:26:23:23 Duree :01:22 Lisibilite :30
Oddly enough, he suddenly said:
0198) 00:26:24:05 00:26:26:08 Duree :02:03 Lisibilite :33
- well, it’s much better now,
0199) 00:26:27:01 00:26:30:06 Duree :03:05 Lisibilite :51
because I couldn’t… « catch » you,
0200) 00:26:30:11 00:26:32:24 Duree :02:13 Lisibilite :40
I can’t remember his exact word.
0201) 00:26:33:05 00:26:35:23 Duree :02:18 Lisibilite :43
Maybe that’s what’s left.
0202) 00:26:37:11 00:26:40:10 Duree :02:24 Lisibilite :47
The strongest part of this experience.
0203) 00:26:41:15 00:26:45:07 Duree :03:17 Lisibilite :58
Because it shows a strange link
0204) 00:26:46:12 00:26:48:15 Duree :02:03 Lisibilite :33
between inside and outside.
0205) 00:26:50:22 00:26:52:15 Duree :01:18 Lisibilite :27
Suddenly there’s the painter,
0206) 00:26:53:13 00:26:57:04 Duree :03:16 Lisibilite :58
who’s observing a person,
0207) 00:26:57:09 00:27:02:04 Duree :04:20 Lisibilite :76
who’s painting this person
and painting an outer envelope,
0208) 00:27:02:22 00:27:06:13 Duree :03:16 Lisibilite :58
while at the same time you ‘re inside.
0209) 00:27:09:00 00:27:10:15 Duree :01:15 Lisibilite :25
That’s strange.
0210) 00:28:33:14 00:28:35:07 Duree :01:18 Lisibilite :27
I looked at him from time to time,
0211) 00:28:35:11 00:28:36:17 Duree :01:06 Lisibilite :19
because it puzzled me,
0212) 00:28:36:21 00:28:38:16 Duree :01:20 Lisibilite :28
that kind of swarming,
0213) 00:28:38:20 00:28:42:09 Duree :03:14 Lisibilite :56
even the sweat on his face…
0214) 00:28:42:23 00:28:44:01 Duree :01:03 Lisibilite :17
I was surprised.
0215) 00:28:44:10 00:28:48:14 Duree :04:04 Lisibilite :66
I was fascinated by the gasping
effect of Daniel’s painting.
0216) 00:28:50:10 00:28:53:14 Duree :03:04 Lisibilite :50
I was no longer Florence,
© Copyright pour ce scénario Hélène Faucherre