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Editors Note: In this creative piece, Aurelie reflects on a Saturday morning in Aix de Provence. Written in her native language first, find the English translation below.
La place de l’hotel de ville s’ensoleille, elle offre ces couleurs ocres de provence, il n’est que 8h du matin. Les Forains sont déjà déballer leur marchandises, fleurs parfumées, plantes vertes, pâquerettes soigneusement disposées, parasols déployés, vendeurs bien réveillés.
Le décor est en place comme chaque samedi matin à Aix en Provence. On aperçoit les premiers flots de touristes, sac à dos visser sur le dos, téléphone sur perches télescopique dégainées pour immortaliser cet instant magique.
Il y à ce troubadour et son instrument si curieux au son doux et mélancolique. D’un geste fluide et perpétuelle, notre virtuose amateur coiffé de son bonnet multicolor donne la cadence, chante et interpelle.
Les petites plaques de papier trouées se déplient tranquillement. On ose imaginer le mécanisme astucieux de cette boite à roulette.
Comment un bout de papier perforé peut-il créer un son, des notes, une mélodie, une chanson, une émotion, un souvenir d’enfant. C’est un piano, une trompette, un orgue, une charrette, quelle drôle d’invention barbare. « Padam, Padam, Padam .. «, Piaf, Montand, Aznavour, les plus grands sont de la partie, les mélodies nostalgiques s’enchainent et nous replongent dans l’époque des cabarets Parisiens, des chants du XXème de France et d’ailleurs.
Les pigeons ne ratent surtout pas une miette de ce rendez vous, les platanes en frétillent tout comme mon pied doit qui ne cesse de battre la cadence. « C ‘est la Java bleue, la Java la plus belle, celle qui ensorcelle … » les classiques donnent le sourire, font chaud au coeur.
Quelques curieux prennent le temps de s’arrêter, intrigués par cette boite aux air de machine à fabriquer les Lasagnes. Le tourneur serai un fin gourmet ? un glouton de la clef de Sol ! un chef d’orchestre solitaire, un saltimbanque heureux.
« Gling, gling » les pièces résonnent dans le chapeau comme des applaudissement, l’audience hypnotisée par l’objet mécanique.
« Clap, Clap, Clap … » c’est la fin de la partition et on attend avec impatience la prochaine brique de carton percée.Le bruit ambiant s’est intensifié, les vendeurs s’agitent, nos chères mamies suivies de leur chariots boitillants s’approvisionnent de petits bouquets bariolés. Ca s’esclaffe, ça bavarde fort, ça se réjoui du beau temps.
Imperturbable soliste farfelu, ravi et espiègle, son avant bras reprends sa chorégraphie cinématique.
L’orgue de barbarie baragouine à nouveau sur la place de l’horloge. Théâtre à ciel ouvert, scène aux acteurs inconnus, décor majestueux. Merci Monsieur le clown mélomane du samedi matin.
Vous m’avez donné des ailes.
***
The square of the town hall receives the morning sun and offers its ochre hues of the Provence region. It is barely 8 AM.
The fairgrounds are bustling with all the folk already unpacking their merchandise, carefully arranged daisies, scent-rich flowers, green plants, – yawning parasols and contrastingly lively merchants.
The setting is as always, every Saturday morning in Aix en Provence. One sees the first flocks of tourists, backpacks, and their backs as one, brandishing Smartphones and selfie-sticks to immortalize this magic moment.
A curious and melancholic sound softly leads us to its muse, the Troubadour, and his instrument. His virtuosity flows forth with a fluid grace. He dons a multicolored cap and sings out, beckons – even challenges – in song and cadence.
The small parcels of paper with their musical braille unfold quietly. We can barely imagine the clever mechanism of this beautiful itinerant case.
How could a mere piece of punched paper create such a sound, notes, a melody, a song, an emotion or evoke the memory of a child? It is at once a piano, a trumpet, an organ, a cart, a strange crude yet ingenious invention. Padam, Padam, Padam .., Piaf, Montand, Aznavour, the greats are all to be heard.
The nostalgic melodies intertwine and immerse us again in the times of the Parisian cabarets, songs of the XXth century France – and well beyond.
The pigeons don’t miss a morsel of this gathering, the Chestnut trees sway just as my right foot which obeys the insistence of the cadence
« C ‘est la Java bleue, la Java la plus belle, celle qui ensorcelle … » these classics bring a smile to our lips and warm the heart
Some curious onlookers take the time to pause, intrigued by this crude box that seems that it could almost make Lasagna. The man who churns is – would he perhaps be a gourmet in disguise? A glutton of the “key of C”! A lonely conductor, a happy nomad?
“Gling, gling” the coins resonate in the hat as applause, the audience mesmerized by the mechanical object. “Clap, Clap, Clap …” is the end of the score and we await the next stack of punched paper that conceals its voices and memories.
The surrounding sounds have intensified, the salesmen bustle, our dear grandmothers followed by their waggling caddies gather supplies of multicolored bouquets. One hears laughter, loud gossiping and it all basks in the beautiful day.
The untiring eccentric soloist, delighted and Troubadour. A sea of laughter, loud gossiping, and rejoicing in the beautiful day.
The tireless and eccentric soloist goes on, delightful and mischievous, his forearm resumes – churning out his cinematic choreography.
The barrel organ murmurs again on the square. A lovely open-air Amphitheatre, a stage filled with unknown actors, a majestic decoration. Thank you Mr. Clown, the Saturday music-lover – you gave me wings.
Also by Aurelie Gandilhon:
Artist’s Block: The Blank Page
Aurelie is in 1982 in Marseille, city open to the Mediterranean world, city of light and cultural diversity. She participated in major projects in France and abroad putting all her passion into her creative works. She worked with ‘Opera Garnier’ in Paris, the ‘Theatre Royal de la Monnaie’ in Brussels, the ‘Marseille Opera’ and the ‘Festival d’Art Lyrique’ in Aix-en-Provence. Since 2009, she has travelled across Asia, collaborating with Franco Dragone on “The House of Dancing Water” show, as well as being involved in other creations such as TABOO 1, TABOO 2, TABOO 4 in Macao. With the Hong Kong Theater Association, she designed “Le Père Noël est une Ordure”, “Les pas perdus”, "Musee Haut Musee Bas " and "Je Dance Toujours" sets. Alongside the singer Mouron, the choreographer Anne Tournie and Terry Truck Tournie Pianist, she realized the set and props creation for the show "Le cabaret des annees folles" at the "The French May 2013′′ Festival in Hong Kong. In 2013, she joined the UNIPLAN Luxury Event creative team in the Shanghai and Hong Kong as Performance and Show Production Expert. Working for “Louis Vuitton”, “Maserati” and “ Moet et Chandon” events. She is also involved in The Shanghai Pride organisation and collaborated with "Cirque le Soir" Club as creative consultant and special party organiser. In 2015, she worked with the Franco Dragone team on "The HAN Show" in Wuhan, "The LIDO" in Paris, "The Dai Show" in Xishuangbanna and other creations in Dubai, Moscou and China. In 2016, she joined the famous Worldwide company Balich for the Special Olympic Games Flag Handover between Austria and Abu Dhabi, designing the set and the large scale props. In 2017 She start a new collaboration with SOKOL Show and Wanda in Harbin China. In charge of the prop design and the props department during the conception, the creation and the artistic production; Aurelie has also started a collaboration with STUFISH designing and creating the "Holiday On Ice" show in 2018. She is designing and managing the massive stage for the new Stunt show produce by SEP production in Haikou China. 2018 is also a year where she illustrate some show concept and artistic project for SEP, WANDA and other concept in developement in CHINA and EUROPE. A great new collabortation in Marseille is starting with the new Concept Club BONBONNE, not as a DJ this time, but as interior designer and artistic consultant. Giving to the town a new trend and unique place for a new experience.
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