Constantly on the wire |
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The translation into English was done by using a translation bot, words enclosed in ** were not recognized by the bot.
After Blonde, the interpreter of "Étienne" returns with Dernières Nouvelles, an album of a traveller which mixes songs, dance and cinema.
By: Victor Hache
"Let's be melodramatic", she says. And to clarify the *errance* of a female destiny. An unconventional record, somewhat reflecting her own story. A meeting. *Òtre* there where doesn't wait him not. To take the opposite course to the things for always surprising. Such is the reason to be Guesch Patti, a singer more than ever unclassifiable, we speak to her today about the appropriately named album "Dernieres Nouvelles". In a time without asperity too often foreseeable, her new record will probably have the appearance of an object, if not hermetic, at least unidentifiable. It is about a course traveller. This is not a record made by using a template, and one that is unlikely to end up on radio playlists. That raises all as much music that of the dance and the movies. Guesch Patti's favorite art forms. To absorb themselves of it, him, is necessary to stop the race of time for a few instants in order to discover an artistic project with an abstract appearance, putting in stage, a feminine destiny who's mysterious steps echo on the pavement. The album's interpreter says to have gone "to the torment of a factitious history. A history to be read like a synopsis of a movie": It's a cinematographic album confides Guesch Patti, a melodrama, the *errance*, of a woman plated by her guy. I dare something which is like a challenge."
Patricia Porrasse, as she is known to the Civil Registry Office, took professional risks in her search to discover new emotions. So she avoided an Étienne reprise, the song that propelled the singer to the top of the charts in the late eighties. Not *réécouter* not to renew with her past of a *gouailleuse* diva that saw her locked in a style in which she didn't recognize herself anymore. Étienne had become too much of a "serious media title". She explains: "I didn't feel myself at the time of Étienne. The machinery surrounding it, the business side of the music biz obliged me to do things that I didn't really wanted to do. I was also a bit naive. If I hadn't wanted to please everyone in the profession that much, it would certainly have been easier. I came across as challenging, sure of myself. But I would have preferred to be marginal from the start. I would have suffered less." From there undoubtedly comes her desire for pictures. It's therefore no wonder that Guesch Patti has felt the need to clarify Dernieres Nouvelles with a 52 minute video- art documentary, an intimate portrait of an abandoned woman played by her. Are the video and the story a reflection of her own history? : "It's a mixture of fact and fiction" she says. "We've all experienced a painful separation that leaves you in pieces."
For her, the stake, in picture of her album corresponds to one tentative of art and test. To make it under the shape of a means - footage, I don't believe that it is current like step in a singer. There, it is true creation, sung, choreographed, danced. All of Guesch Patti is there, in this collection of songs, of gestures and of torn up photos, multiple way to be at the court of a puzzle of which she has the secret: "I feel better when I'm not looking to seduce at all cost. Peter Greenaway entrusted me to make the things for him: if people adhere, that's great. I appreciate that way of seeing life. It's a pity that in France you are not taken seriously if you claim to be someone who is capable of several things."
"Let's be melodramatic", she says again, and not refuse any style like for example singing in English, a "luxury" that she often refused: "They are going to say that I contradict myself since I was opposed to the idea of singing in English in the beginning of my career, convinced that it was necessary to impose French abroad". Then Guesch Patti is herself open to other *sonoritéses* through the intermediary of words chosen, such as Métempsycose, a song dedicated to Jean Fauque (lyric writer of "Bashung"). Metempsycose is a term defined by the dictionary as "the passing of the soul after death into another body". American Indians who believe in metempsychosis, she explains, think that you are reincarnated in different elements of nature: animals, trees, the earth etc. A transformed reincarnation. For myself I don't believe that, but the text of Jean Fauque is very beautiful. *Filigreed*, it evokes questions about the man and the woman confined in their precise roles.
Since, she has sought to demolish the image of the carnivorous creature which she regards as too coarse, not close enough to her liking. It isn't that Guesch Patti didn't know how to choose between a career as a singer or as a dancer. The song came late to her, she started with the role of "The Little Rat" at the Paris opera, before dancing for Roland Petit, Carolyn Carlson and Pina Baush. There was also the rock adventure with different groups - Encore, Da Capo - all marked by as much esteem success. She found her own voice with Gobe and Blonde, with previous productions she felt like she was "dancing like a marionette". Later, she found her way into the movies. She starred in the movie "Elles" (1998) under the direction of Louis Galvao next to Miou - Miou, Carmen Maura, Marisa Berenson, and Marthe Keller. She also works with Peter Greenaway, for example on the movie "The Pillow Book", the movie's producer used 3 of her songs from the "Blonde" album on the film's soundtrack.
I am not a militant feminist, but with regard to feminism, one perhaps made progress: quite a few things remain to be done! " l'ABC d'air on Dernieres Nouvelles knows how to also give in the metaphor heavenly while interrogating "Les Anges" of the year 2000 : What is the thread that me there duct?" sings Guesch. Amused she answers: I don't know from where angels would be able to to arrive, but we are in a big merdier. The society? Permanent disinformation, communication, shortcomings, lost speech, erased memory... I find all that insane! "From where it *allerses* and permanent returns between the real and her world that helps her to recover "the sense" of life.
As many original experiences who will permit to know the truth of Guesch Patti. Her, already, dream to its neighbour performance. It will be to the Theater of the City - The Abbesses, in Paris, for a choreographed creation, by Daniel Larrieu, Odile Duboc, Paschal Houbin, Odile Azaguri and Dominique Mercy: These five choreographers wrote me five solos. I will be alone in stage with scraps of texts of the album. I would do only dance. Her return on stage as a singer? It will be necessary to exercise patience "again: Not before the end of 2001. I would like to alternate one evening choreographs, another concert with two or three musicians only. It is a proposition that one made me of the stranger. If it is feasible, I would try to bring back the performance in France". Her way to be constantly on the wire.