{"id":5607,"date":"2024-01-23T19:26:21","date_gmt":"2024-01-23T18:26:21","guid":{"rendered":"http:\/\/umoove.art\/?p=5607"},"modified":"2024-01-27T17:32:39","modified_gmt":"2024-01-27T16:32:39","slug":"interview-olivia-grandville","status":"publish","type":"post","link":"https:\/\/umoove.art\/index.php\/2024\/01\/23\/interview-olivia-grandville\/","title":{"rendered":"Interview Olivia Grandville"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"5607\" class=\"elementor elementor-5607\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-96fb044 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"96fb044\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-a87cdf7\" data-id=\"a87cdf7\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-7c9001e elementor-widget elementor-widget-image\" data-id=\"7c9001e\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"456\" src=\"https:\/\/umoove.art\/wp-content\/uploads\/2024\/01\/OliviaGrandville\u00a9MarcDomage_81-1024x608-1-768x456.jpg\" class=\"attachment-medium_large size-medium_large wp-image-5603\" alt=\"\" srcset=\"https:\/\/umoove.art\/wp-content\/uploads\/2024\/01\/OliviaGrandville\u00a9MarcDomage_81-1024x608-1-768x456.jpg 768w, https:\/\/umoove.art\/wp-content\/uploads\/2024\/01\/OliviaGrandville\u00a9MarcDomage_81-1024x608-1-300x178.jpg 300w, https:\/\/umoove.art\/wp-content\/uploads\/2024\/01\/OliviaGrandville\u00a9MarcDomage_81-1024x608-1.jpg 1024w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-a55c75b elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"a55c75b\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-d537d18\" data-id=\"d537d18\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-533eee0 elementor-widget elementor-widget-heading\" data-id=\"533eee0\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-heading-title{padding:0;margin:0;line-height:1}.elementor-widget-heading .elementor-heading-title[class*=elementor-size-]>a{color:inherit;font-size:inherit;line-height:inherit}.elementor-widget-heading .elementor-heading-title.elementor-size-small{font-size:15px}.elementor-widget-heading .elementor-heading-title.elementor-size-medium{font-size:19px}.elementor-widget-heading .elementor-heading-title.elementor-size-large{font-size:29px}.elementor-widget-heading .elementor-heading-title.elementor-size-xl{font-size:39px}.elementor-widget-heading .elementor-heading-title.elementor-size-xxl{font-size:59px}<\/style><h1 class=\"elementor-heading-title elementor-size-default\">Dansons zazou. Par Olivia Grandville<\/h1>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-8bf1f12 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"8bf1f12\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-1f4c398\" data-id=\"1f4c398\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-bba2ed1 elementor-widget__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"bba2ed1\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<h2>Au<strong> r\u00e9pertoire d\u2019Olivia Grandville, \u00e0 la t\u00eate de Mille Plateaux \u2013 Centre chor\u00e9graphique national de La Rochelle : <em>Le Cabaret Discr\u00e9pant<\/em>, \u0153uvre de 2011 qu\u2019elle propose de (re)d\u00e9couvrir au public de La Coursive, sc\u00e8ne nationale de la cit\u00e9 maritime. Entre humour et \u00e9rudition, cette fausse conf\u00e9rence dans\u00e9e et vraie r\u00e9flexion sur l\u2019actuelle danse contemporaine, <em>Le Cabaret Discr\u00e9pant<\/em> nous est ici d\u00e9taill\u00e9, \u00e0 la lettre, par son auteure.<\/strong><\/h2><p>\u00a0<\/p><p><strong>En pr\u00e9ambule, pouvez-vous nous expliquer ce terme de\u00a0<em>discr\u00e9pant<\/em>, pas \u00e9vident \u00e0 prononcer ?<\/strong><\/p><p>Je dois dire que \u00e7a m\u2019amusait de rapprocher ces deux mots \u2013 cabaret et discr\u00e9pant &#8211; et de voir les gens buter sur eux. J\u2019ai eu le droit \u00e0 tout\u00a0: Cabaret discriminant, d\u00e9crispant. Le cabaret discr\u00e9pant est une formule invent\u00e9e par les lettristes, plus pr\u00e9cis\u00e9ment discr\u00e9pant est un mot d\u2019origine allemande qui veut dire\u00a0:\u00a0 prendre chaque \u00e9l\u00e9ment pour ce qu\u2019il est.<\/p><p>Les lettristes ont commenc\u00e9 \u00e0 utiliser ce mot au moment o\u00f9 ils travaillaient sur l\u2019image, en mode \u00ab\u00a0pionniers de la Nouvelle Vague\u00a0\u00bb. Leur id\u00e9e \u00e9tait alors de dissocier l\u2019image de la bande-son \u00e0 l\u2019instar de leur\u00a0<em>Trait\u00e9 de bave et d\u2019\u00e9ternit\u00e9<\/em>\u00a0(1951), film compos\u00e9 de r\u00e9cup\u00e9ration de pellicules sur lequel \u00e9tait diffus\u00e9 un son sans r\u00e9el rapport aux images.<\/p><p>A l\u2019\u00e9chelle du spectacle vivant, ce qui est discr\u00e9pant c\u2019est de dire que les m\u00e9diums propos\u00e9s au plateau\u00a0&#8211; la danse, la musique, le texte, la lumi\u00e8re, la sc\u00e9nographie &#8211; ne sont pas agenc\u00e9s pour s\u2019\u00e9tayer les uns des autres mais plut\u00f4t pour qu\u2019ils existent par et pour eux-m\u00eames. Il s\u2019agit l\u00e0 de voir comment ces choses vont frotter ou se croiser sans \u00eatre toutes tendues vers le m\u00eame objectif.<\/p><p><strong>Comment en \u00eates-vous arriv\u00e9e \u00e0 travailler sur le mouvement Lettrisme\u00a0?<\/strong><\/p><p><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">Ma mani\u00e8re de rentrer dans l\u2019histoire de l\u2019art contemporain s\u2019est souvent faite par la porte des avant-gardes du XX<\/span><sup style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">\u00e8me<\/sup><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">\u00a0si\u00e8cle. Ma toute premi\u00e8re pi\u00e8ce &#8211; avec le metteur en sc\u00e8ne\u00a0<\/span><strong style=\"font-style: inherit; background-color: var(--ast-global-color-5);\">Xavier Marchand<\/strong><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">\u00a0&#8211; est\u00a0<\/span><em style=\"font-weight: inherit; background-color: var(--ast-global-color-5);\">Le K de E<\/em><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">\u00a0(1993) \u00e0 propos du dada\u00efste\u00a0<\/span><strong style=\"font-style: inherit; background-color: var(--ast-global-color-5);\">Kurt Schwitters<\/strong><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">, po\u00e8te sonore et plasticien expert du collage. Collage que j\u2019aime beaucoup dans mon travail.<\/span><\/p><p>D\u00e9but des ann\u00e9es\u00a01990, je me suis beaucoup int\u00e9ress\u00e9e au mouvement dada\u00efste. On m\u2019avait d\u2019ailleurs offert un ouvrage sur le lettrisme que je n\u2019avais pas lu.\u00a0Six\/sept\u00a0ans apr\u00e8s, on m\u2019offre \u00e0 nouveau cet ouvrage. Je le prends comme un signe et vais alors fouiner dans la biblioth\u00e8que de Beaubourg. Je tombe sur un petit livre\u00a0<em>14 petits ballets ciselant<\/em><em>s<\/em>\u00a0et sur un petit livre de photo de\u00a0<strong>Maurice Lema\u00eetre<\/strong>, disciple d\u2019<strong>Isidore\u00a0<\/strong><strong>Isou<\/strong>, fondateur du Lettrisme\u00a0:\u00a0<em>La danse et le mime ciselant, lettristes et hypergraphiques<\/em>. C\u2019est la r\u00e9v\u00e9lation\u00a0! A l\u2019int\u00e9rieur de ce livre y a des partitions \u00e0 danser, faites d\u2019actions quotidiennes, vaguement chor\u00e9graphiques.\u00a0\u00a0<span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">C\u2019est par ce biais que j\u2019ai d\u00e9couvert, la partie immerg\u00e9e\u00a0de l\u2019iceberg\u00a0: le mouvement lettriste, mouvement esth\u00e9tique et politique, oubli\u00e9 et coinc\u00e9 entre le dada\u00efsme et le situationnisme.<\/span><\/p><p>Isidire Isou applique sa mani\u00e8re de penser \u00a0aussi bien au design, qu\u2019\u00e0 la m\u00e9taphysique o\u00f9 \u00e0 la cuisine, et donc pourquoi pas la danse. Une id\u00e9e forte parmi d\u2019autre \u00e9tant que l\u2019art se doit de toujours inventer et ne jamais exploiter ce qu\u2019il trouve.\u00a0<span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">Leurs partitions chor\u00e9graphiques, sont donc parfaitement th\u00e9oriques, et en les d\u00e9couvrant j\u2019ai d\u2019abord beaucoup ri. C\u2019\u00e9tait infaisable, \u00a0inorganique, et surtout tr\u00e8s vieillot\u2026.la danse fran\u00e7aise \u00e0 l\u2019\u00e9poque \u00a0c\u2019\u00e9tait avant tout le ballet , le sommet de la modernit\u00e9 \u00e9tant <strong>Maurice B\u00e9jart<\/strong>. Mais en d\u00e9clinant toute une pens\u00e9e sur la danse qui en passe par la destruction des formes anciennes,\u00a0 ils ouvrent tout un champ de possible\u00a0: pourquoi la danse ne partirait pas des mouvements de cheveux, des yeux, de la bouche, des organes\u2026 et pourquoi pas de la pens\u00e9e sur la danse, tout simplement\u00a0?<\/span><\/p><p>Ce faisant, il raconte le parcours de la danse contemporaine, depuis les ann\u00e9es 80 jusqu\u2019\u00e0 aujourd\u2019hui. En 2010, cela m\u2019est\u00a0apparu compl\u00e8tement visionnaire.<\/p><p>Les lettristes sont un peu les Bouvard et P\u00e9cuchet de la danse, dans leur mani\u00e8re d\u2019en parler il y a une forme de na\u00efvet\u00e9, de force et d\u2019humour. Bref ce texte de 1947 d\u00e9plac\u00e9 en 2010 \u00e9tait \u00e0 la fois hilarant et totalement pertinent.<\/p><p><strong>Comment le milieu chor\u00e9graphique de l\u2019\u00e9poque s\u2019est empar\u00e9 de ce texte\u00a0?<\/strong><\/p><p>Il ne s\u2019en est absolument pas empar\u00e9. Je crois par contre qu\u2019il s\u2019est pas mal moqu\u00e9. Je dois cependant pr\u00e9ciser que\u00a0<strong>Claire Motte<\/strong>, qui deviendra danseuse \u00e9toile en 1960, a particip\u00e9 au premier ballet ciselant de Maurice Lema\u00eetre. Les lettristes avaient quelques liens avec les danseurs de l\u2019\u00e9poque mais ils ont \u00e9t\u00e9 tout de m\u00eame tr\u00e8s vex\u00e9s que le monde de la danse ne s\u2019empare pas de leurs propositions.<\/p><p><strong>Et en 2010, comment fut re\u00e7ue la pi\u00e8ce par ce m\u00eame milieu\u00a0?<\/strong><\/p><p>Disons qu\u2019au d\u00e9but c\u2019est surtout le monde du th\u00e9\u00e2tre qui a r\u00e9agi. Le milieu de la danse s\u2019est senti, je pense, un petit peu attaqu\u00e9. Comme si\u00a0<em>Le Cabaret Discr\u00e9pant<\/em>\u00a0se moquait de la danse conceptuelle, ce qui n\u2019\u00e9tait pas du tout mon intention puisque justement je pense que la pi\u00e8ce est finalement assez p\u00e9dagogique sur ce plan l\u00e0.<\/p><p>Je n\u2019ai rien \u00e9crit du texte, je le donne \u00e0 entendre tel que, je ne fait que montrer \u00e0 quel point l\u2019histoire se r\u00e9p\u00e8te et qu\u2019on croit renverser les tables alors que d\u2019autres l\u2019ont fait 50 ans avant vous. Ce qui n\u2019emp\u00eache d\u2019ailleurs pas de les renverser \u00e0 nouveau. Bref il y a eu un moment de flottement, vite balay\u00e9 par l\u2019adh\u00e9sion, par l\u2019accueil chaleureux du public et de la critique.<\/p><p><strong>Il y un caract\u00e8re fortement polymorphe dans ce courant qui d\u00e9borde du cadre uniquement sc\u00e9nique. Comment alors le transposer au plateau ?\u00a0\u00a0<\/strong><\/p><p>Nous sommes l\u00e0 dans la veine d\u2019un spectacle de\u00a0m\u00e9tadanse, un spectacle de danse qui parle de la danse. La fausse conf\u00e9rence dans\u00e9e \u00e9tant d\u00e9j\u00e0 devenu un genre en soi quand j\u2019ai cr\u00e9\u00e9 la pi\u00e8ce, il y a donc l\u00e0 aussi une certaine ironie \u00e0 jouer avec le c\u00f4t\u00e9 \u00ab\u00a0pseudo provocateur\u00a0\u00bb de la forme qui n\u2019as en r\u00e9alit\u00e9 rien de r\u00e9volutionnaire.<\/p><p>Par contre ce qui se passe dans l\u2019espace, m\u00eame si ce n\u2019est pas de la danse est n\u00e9anmoins chor\u00e9graphique. On ne fait pas grand-chose en termes\u00a0de mouvements mais tout est ultra-pr\u00e9cis.<\/p><p>Et puis je me suis entour\u00e9 d\u2019une \u00e9quipe d\u2019artistes de haut vol, pour la plupart auteurs eux aussi. Je tenais \u00e0 ce qu\u2019ils partagent avec moi un point de vue fort sur ce que nous \u00e9tions en train de faire.\u00a0<\/p><p><strong>D\u2019une mani\u00e8re g\u00e9n\u00e9rale, vous aimez \u00e0 puiser dans l\u2019histoire de l\u2019art pour vos cr\u00e9ations. Quelles sont vos motivations dans l\u2019articulation du m\u00e9dium danse avec ces diff\u00e9rents objets d\u2019\u00e9tudes ?<\/strong><\/p><p>J\u2019ai un truc avec la m\u00e9moire, avec l\u2019histoire. S\u00fbrement par rapport \u00e0 mon parcours. C\u2019est quelque chose qu\u2019on m\u2019a renvoy\u00e9 tr\u00e8s t\u00f4t, du fait de mon pass\u00e9 classique, de mon histoire avec <strong>Dominique Bagouet<\/strong>. \u00c0 un moment je me suis dit ok, puisqu\u2019on me renvoie \u00e0 \u00e7a pourquoi ne pas m\u2019en emparer. Et puis je ne crois pas au progr\u00e8s en art, je pense que les choses changent, \u00e9voluent beaucoup et notamment en phase avec les soci\u00e9t\u00e9s qui les portent mais ces m\u00e9moires ont toujours quelque chose \u00e0 nous dire. Ce sont les modes qui vieillissent pas les \u0153uvres d\u2019art, on ne peut pas comparer un tableau de Van Eck \u00e0 une oeuvre de Xavier Veilhan sous l\u2019angle du progr\u00e8s\u00a0! Le pass\u00e9 \u00e9claire le pr\u00e9sent et le futur.<\/p><p><strong>Qu\u2019apprend-on de l\u2019histoire de la danse<\/strong><strong>\u00a0<\/strong><strong>dans ce\u00a0<em>Cabaret<\/em>\u00a0?<\/strong><\/p><p>Le texte nous apprend beaucoup sur l\u2019histoire de la danse mais je crois surtout que Le\u00a0<em>Cabaret Discr\u00e9pant<\/em>\u00a0apprend au public qu\u2019il faut se m\u00e9fier des \u00e9vidences . Il me semble qu\u2019ici le public est un peu pi\u00e9g\u00e9 (puis \u00e9clair\u00e9) mais je ne peux vous en dire plus, il faut voir la pi\u00e8ce. Je crois que les choses ont parfois plus de facettes qu\u2019on ne l\u2019imagine. On en reparle apr\u00e8s la repr\u00e9sentation\u00a0? (rires)\u00a0<\/p><p>Je suis tr\u00e8s contente de la reprendre. Elle est toujours d\u2019actualit\u00e9, \u00e0 un autre endroit car nous sommes aujourd\u2019hui dans une p\u00e9riode o\u00f9 la danse envahie de nouveau les plateaux \u2026. Mais quelle danse\u00a0? <em>Le Cabaret Discr\u00e9pant<\/em>\u00a0est toujours d\u2019actualit\u00e9 mais dans le sens inverse o\u00f9 je l\u2019avais pos\u00e9 il y a\u00a0dix\u00a0ans. L\u00e0 o\u00f9 j\u2019avais envie de dire\u00a0:\u00a0<em>\u00ab\u00a0OK pour la danse conceptuelle mais qu\u2019est-ce que la danse \u00e0 venir\u00a0?\u00a0\u00bb<\/em>, aujourd\u2019hui j\u2019ai plus envie de dire\u00a0:\u00a0<em>\u00ab\u00a0Ok vous pouvez rigoler car on ne bouge pas au plateau mais en r\u00e9alit\u00e9 un corps qui ne bouge pas sur un plateau c\u2019est beau aussi et\u00a0<\/em><em>\u00e7<\/em><em>a peut suffire en soi.\u00a0\u00bb<\/em><\/p><p><strong>Autre actualit\u00e9\u00a0: l\u2019<\/strong><strong>Umaa<\/strong><strong>\u00a0(Unit\u00e9 Mobile d\u2019Action Artistique) qui va se d\u00e9ployer au printemps sur le territoire de Charente-Maritime. Mais quid de votre prochaine cr\u00e9ation\u00a0?<\/strong><\/p><p>Alors je pr\u00e9cise que dans le projet\u00a0Umaa\u00a0je\u00a0cr\u00e9e\u00a0plusieurs pi\u00e8ces, cet espace ambulant sera habit\u00e9 par des \u0153uvres. Il y aura tout d\u2019abord\u00a0<em>TWIN<\/em>, une pi\u00e8ce-paysage que le public traversa pendant\u00a0trois\u00a0heures. Typiquement le genre de pi\u00e8ce qui n\u2019entre pas dans un th\u00e9\u00e2tre. Je travaille \u00e9galement \u00e0 un autre dispositif, centr\u00e9 lui sur l\u2019\u00e9coute. Il s\u2019agit d\u2019une partition\u00a0dans laquelle\u00a0les spectateurs seront \u00e9galement acteurs de ce qu\u2019ils \u00e9coutent.<\/p><p>Et bien s\u00fbr, il y aura une pi\u00e8ce en 25\/26 mais je ne vous en\u00a0parlerai\u00a0pas\u00a0aujourd\u2019hui !<\/p><p><strong>Propos recueillis par C\u00e9dric Chaory<\/strong><\/p><p><strong>\u00a9<\/strong><strong>Marc Domage<\/strong><\/p><p><a href=\"https:\/\/www.la-coursive.com\/projects\/le-cabaret-discrepant-23-24\/\">LE CABARET DISCR\u00c9PANT &#8211; 23\/24 &#8211; La Coursive Sc\u00e8ne Nationale La Rochelle (la-coursive.com)<\/a><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Dansons zazou. Par Olivia Grandville Au r\u00e9pertoire d\u2019Olivia Grandville, \u00e0 la t\u00eate de Mille Plateaux \u2013 Centre chor\u00e9graphique national de La Rochelle : Le Cabaret Discr\u00e9pant, \u0153uvre de 2011 qu\u2019elle propose de (re)d\u00e9couvrir au public de La Coursive, sc\u00e8ne nationale de la cit\u00e9 maritime. Entre humour et \u00e9rudition, cette fausse conf\u00e9rence dans\u00e9e et vraie r\u00e9flexion &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"https:\/\/umoove.art\/index.php\/2024\/01\/23\/interview-olivia-grandville\/\"> <span class=\"screen-reader-text\">Interview Olivia Grandville<\/span> Lire la suite\u00a0\u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","footnotes":""},"categories":[7,9],"tags":[],"class_list":["post-5607","post","type-post","status-publish","format-standard","hentry","category-interview","category-interview-interview"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.9 - aioseo.com -->\n\t<meta name=\"description\" content=\"Dansons zazou. 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