traduction / translation

Page dedicated to

  1. f4 dit :

    page dedicated to translation

  2. Manuel Montero dit :

    Shelley’s Witch of Atlas (traduction française : Manuel Montero)
    .
    .

    La strophe suivante de The Witch of Atlas commence visiblement avec « demeure qui sent (bon) », la sienne à elle, et même on pourrait songer son corps et les odeurs vénusiens. Donc, plein de questions à la traduction pour un masturbateur fanatique, de ces temps. Plein d’efforts du souvenir contre le désir et la pulsion et aussi dans leur sens. Il faut qu’il y ait beauté, or l’injustice (perçue par l’oreille éthique de dame esthétique) rend laide la poésie, n’importe quelle injustice symbolique finit trop ou tard par apparaître sur le visage de l’oeuvre comme une difformité ou bien comme un bleu, et si maintien de la beauté est justice, il faut plonger dans l’inconscient au risque de devoir dire sans dire.

    L’oeuvre d’autrui devrait du moins inspirer un certain renoncement intellectuel au profit de la beauté d’autrui, selon me vient dicté le code éthique de l’Art par mes pulsionnelles réflexions. En même temps le caractère performatif de mes traductions vaux un document psychanalytique, ce qui fait que la correction doit être dans l’insight de la performance avant sa fin. Il est approprié au poème même dont il s’agit si l’on considère l’en tête à Mary Shelley, que nous avions traduit auparavant.

    Que Joséphine en réduisant la qualité vidéo presqu’au gros pixelage, ait voulu brouiller et abîmer le document de sa propre performance, parce qu’il y avait moi dans ce document vidéo, me fait mal. Je me dis que c’est pas intentionné, que c’est encore ce diable d’internet qui pourrit les choses… Ce serait dommage de se repaître à enlaidir par progression toute visibilité de l’art. L’image doit être double, de soi et de son prochain, c’est cela qui a marqué pour moi la peinture et même l’écriture, tout en refusant la manipulation qu’est le consensus de masses de la fiction académique.

    Et encore, la performance suivante, celle où j’étais co-auteur, et dans la détresse, elle n’apparaît pas en vidéo, car on verrait qu’elle était pratiquement l’annonce de ma mise à mort. Même mon nom n’est pas cité.

    Vous savez parfaitement que cette traduction m’oblige à élargir et vérifier mon vocabulaire autant en anglais qu’en français, sans être pour autant compte tenue de mon parcours, un simple exercice scolaire, sinon un vrai travail du fait de l’effort demandé à tous les niveaux de mon quotidien et ma santé, une sorte de grève de la faim artistique.

    .
    .
    .

    14.
    The deep recesses of her odorous dwelling
    Were stored with magic treasures–sounds of air,
    Which had the power all spirits of compelling, _155
    Folded in cells of crystal silence there;
    Such as we hear in youth, and think the feeling
    Will never die–yet ere we are aware,
    The feeling and the sound are fled and gone,
    And the regret they leave remains alone. _160

    Les niches profondes de sa demeure odorante
    Etaient parées avec de magiques trésors – les sons de l’air,
    Qui avaient le pouvoir de troubler tous esprits,
    Se trouvent ici sous capsule dans le silence du lieu;
    Comme on entend quand on est jeune, et pense et sent
    Qu’il y aurait pas Mort – ainsi nous sommes avertis,
    Et le senti et le son tous deux s’envolent et s’en vont,
    Et le regret présent demeure sujet de solitude.

    15.
    And there lay Visions swift, and sweet, and quaint,
    Each in its thin sheath, like a chrysalis,
    Some eager to burst forth, some weak and faint
    With the soft burthen of intensest bliss.
    It was its work to bear to many a saint _165
    Whose heart adores the shrine which holiest is,
    Even Love’s:–and others white, green, gray, and black,
    And of all shapes–and each was at her beck.

    Là-bas gisent les Visions agiles, et douces et raffinées,
    chacune dans sa fine couverture, comme une chrysalide,
    Les Unes impatientes d’exploser, les Autres faibles et fanées
    Par la légère charge de la jouissance la plus intense.
    C’était son travail de recevoir à plus d’un saint homme
    Dont le coeur adore la splendeur qui est la plus sacré,
    Même celle de l’Amour : et d’autres sont blancs, verts, gris, et noirs,
    Et de toutes les formes – et chacun était à son souhait.

  3. Bruno Gr dit :

    lol
    ___l丸l
    o/
    ___丸/
    _o_
    ___ 丸 ___

  4. auddie dit :

    J’ai ma théorie à propos de ce mot prophétique, cette carte laissée sur tous les sièges de la salle avant le concert de COIL, le 25 mars 2001 à Nantes, au Lieu Unique.

    “Pay your respect to the Vultures, for they are your Future”, s’interprète par: “tu dois le respect aux vautours, parce qu’ils sont ton futur”, c’est à dire, “les charognards te mangeront, tu seras digéré”, ou encore : “te faire pomper, copier, sucer le sang par tous les pores, est inévitable, ne méprise pas le retraitement, ne refuse pas la transmission”. “Ne méprise pas ce qui te suit, et te survivra” ; ou quelque chose comme ça.

    concert : https://www.youtube.com/watch?v=fJqlNuj0YH0&feature=youtu.be

    *

    Karim Grabou : “Plus de 17 ans après, quelle joie de revoir ce concert de Coil donné à le lieu unique (officiel) lors du Festival Oblique LU Nights, qui vient de resurgir sur internet.
    Un concert mythique – le mot n’est pas galvaudé ici – tant il aura marqué profondément chaque personne y ayant assisté, notamment avec cette fin apocalyptique sur le morceau “Constant Shallowness Leads to Evil” qui, en vidéo, est malheureusement 10 000 fois moins puissante que ce que nous avons véritablement vécu à ce moment-là, avec un son d’une puissance phénoménale et des stroboscopes démoniaques.”

  5. Translation. ITW . Film "For the Daemon" dit :

    Translation of the ITW of Brieuc Le Meur about the forthcoming movie “For the Daemon”.
    For “Lepetijournal.com” (Berlin)

    https://lepetitjournal.com/berlin/brieuc-le-meur-entre-cinema-photo-musique-et-danse-berlin-290252

    *

    Title :
    Brieuc Le Meur – Between cinema, photography, music and dance in Berlin

    By Juliana Bitton | Published on 15/10/2020 at 19:00

    *

    Based in Berlin for 12 years, Brieuc Le Meur is a French artist with multiple facets. A talented musician, photographer, writer and director, he tells in an interview about his career and his projects.

    Originally from Blois and a philosophy student at the Sorbonne, Brieuc set down his suitcases in the German capital after a year spent in Tokyo. He explains that he has always wanted to make films but that it was complex to work in this field in France, without a degree from a major film school or a lack of contacts. Having neither, he first turned to one of his passions: music. At the beginning of the 90s, the rave scene grew in size. Techno, electro, hard techno and trance music were given pride of place. Brieuc was then a musician and dancer and organised rave parties. He continued to write scripts but music took a more important place in his life. He also writes poetry, novels and produces music, all of which form a personal aesthetic very close to the techno scene in which he evolves.

    Today Brieuc divides his time between musical productions, writing projects and poetry – he has published three books in 2015 – photography and more recently cinema. His new film “For the Daemon” was released in Germany on the Sooner.de platform and combines all the arts that Brieuc masters: writing, photography, music and dance.

    – You are a director, photographer, make music, have presented exhibitions and written several books. Do you manage to find a balance among all the arts you practice?

    I would say that it depends on the projects I’m working on. There are projects that need to be finished on time like a novel, so sometimes I have to stop everything else. For the film “For the Daemon” which has just come out, I had to devote myself almost entirely to this project in order to be able to complete it. I had an idea in mind for a short film with friends. One day, I decided to shoot it with dancers and actors, which gave a lot of direction to the film. As it went on, the images were so convincing that I created another scene, then another and another. It was like that for three years, the film was made in a completely empirical way. Little by little, I finally found the right balance. Finally, I learned how to make a film by making “For the Daemon”! It was really nice to be able to improvise and not have a production above me to demand that I respect a script and deadlines. It was a project which wasn’t commercial at all and which brought together all the media I already mastered. It was quite logical in the end. But for this film, I didn’t completely abandon the music, I updated tracks I already had for the soundtrack but without trying to play, do concerts and produce techno or electro. I was really in underwater mode. (Laughs)

    ” I try to bring out things that obsess me.”

    It’s true that this can be a problem, sometimes I do everything at the same time. It’s also a rhythm but you get used to this kind of process! It can cause problems from a professional point of view because people sometimes think you work as a dilettante. They may think you’re just a dabbler when it’s extremely serious. But whatever the medium used, the words are often the same, it’s quite autobiographical and reflects social criticism. I try to bring out things that obsess me. But at the end of the day, writing music is not like writing a novel and making photos is not like dancing. The qualities and progress you make in one medium are useful to other media, especially in terms of discipline and technique. And then, I’ve always mixed it up like that. Finally, after 25 years of practice, everything has become more regular. And cinema brings all this together, all these arts. So there, we no longer ask ourselves the question. It no longer annoys people. (Laughter)

    – You were born in France and studied in Paris. How did you end up in Berlin? Does this city inspire you?

    After my studies I stayed in Paris for 13 years, but also spent some time in Nantes, also in Brittany. I played there a lot. But at some point being a musician in Paris became complicated. I wanted to leave and I moved to Tokyo in 2007. From Tokyo, I had a concert date in Berlin. I already spoke German, I had already made quite a few trips to Germany but I didn’t know Berlin. I told myself that there was still a lot of techno influence there, there was a real artistic emulsion around this music that always interested me. For me, it was either California or Berlin and I didn’t have a visa… (Laughs)

    I arrived in Berlin at the beginning of 2008 and started playing again. I also started writing, telling my life story. I wrote a book ‘Panic in Berghain’ which came out in 2015. And then I played a lot. I signed a label with a Russian woman, Dasha Rush, called “Fullpanda”. We also did a lot of parties all over the place, things like that. Then, at a certain point, it became a bit “too much”, I didn’t want to play anymore and I found the scene boring. I’d already seen scenes born, die, be reborn. I distanced myself and devoted myself to literature and then to my film.

    With Berlin I have a relationship of love and repulsion.

    I have been living here for 12 years now. With Berlin I have a relationship of love and repulsion. In my opinion, on the one hand it is a very pleasant city to work in but intellectually it is sometimes very poor. Since everyone here speaks a little bit of English, it kills communication and intellectual development a bit, Berlin is a very international city. On the one hand, it’s great that there are so many people from all over the world, all the disappointed people from their own country, hipsters, dreamers come to Berlin… but what are we building here? For music, on the other hand, there’s a pretty sensational artistic eruption, still today and it’s really great.

    – You studied philosophy and your film “For the Daemon” deals with philosophical subjects such as revolution, freedom, emancipation, spirituality and God. These subjects seem to be close to your heart. Do you have a message to convey through your film?

    The film has an ecological message, that’s for sure. The Berlin context and the people I worked with gave a very feminist aspect to the film, but the film is not just that. It is also about masculinity and the guilt of the protagonist, who has done little wrong, but who has to reflect on his position as a man and how this may have played a part in the destruction of the world. Philosophically, my film is a reflection on the white man, on Western evil and vanity.

    There is also a reflection on the language that has transformed mankind for millions of years. The characters often repeat that words have destroyed the world. To name things is to want them to belong to us and then to affirm that they can be destroyed, man believing himself to be omniscient and over-powerful on the planet. It works for trees, people, places, animals. The planet itself defends itself in this film because nature is represented by this masked person and by women.

    – The film also deals with female domination, as if roles had been reversed and the world was becoming matriarchal. Could we speak of utopia to qualify your film? Does it represent an ideal world despite the frightening aspects of certain scenes at first glance?

    For me, it is neither a utopia nor a dystopia: it is a uchrony, an event that cannot and will not exist. It is a caricature, an almost comic exaggeration, a catastrophic comedy. One critic called the film a “macho dystopia” and it is almost that! (Laughs) Companies and men end up understanding that it is possible to remain a man without emitting violence. I think that’s the aspect of feminist utopia. Then there are other kinds of feminist utopias: Amazonian, lesbian, gay, queer utopias where identities disappear completely. I love that, that’s the kind of Berlin reality, I think that the Berlin social avant-garde can really lead the rest of Europe.

    We have the right to be multiple, to change our identity.

    The film would also be a reflection on gender, because of the name. We continue to name, to appropriate concepts to put people into categories (man, woman). The film refuses this. We must stop putting people, animals and places into categories and if we start with that, we can become less violent towards society, the planet and women, of course. We have the right to be multiple, to change our identity. What is needed is to consider the species, as such. We must learn to live differently, perhaps as people lived in the past, without necessarily needing to categorise everything to express something.

    – To conclude, what are your future projects?

    I would like to make a film in another city, perhaps in France. But how I’m going to do it is the big question. With the coronavirus, I’ve had a lot of time to go back over projects that had been on my hard drive for too long, notably an album with a poet from Montpellier. It’s an album of sound poetry, monologue and philosophy that will be released in November. I’ve done quite a lot of music in electronics, including the soundtrack for the film. I am also working on a translation of my novel “Panic in Berghain” into English and I would like to make a second film. For this, I have two ideas in mind: the adaptation of this novel and then maybe something in science fiction, a journey through time. Besides that, I’m doing a lot of photography. Photography, for me, is very simple, it doesn’t require any particular effort and there are a lot of results, so I might as well continue! (Laughs) And then I would like to see things as positively as possible, not to be locked up in old patterns !

    *

    To discover the film “For the Daemon”, go to the Sooner platform. To be release end of october 2020.

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