Présentation du spectacle

" Ma vie encore plus rêvée " en tournée jusqu'en avril 2020.

Il y a des textes et des spectacles qui ont leur propre vie, ils changent grandissent murissent presque comme s’ils vivaient en dehors de moi. Ma vie rêvée, au cours du temps des voyages et des représentations, a grandit. Le monde autour de moi a changé, il s’est passé tellement de choses que tous ces évènements sont rentrés dans le texte. La politique, même les attentats (oui il faut continuer a rire de tout ; mais pas n’importe comment tout le problème est là), et aussi les histoires de départ se sont transformées. Moi aussi j’ai changé. Cette nouvelle version m’a permis d’aller plus au fond de mon rire de mes émotions. Comme je le dis sur scène : » Ce n’est plus du lâché prise c’est du lâché tout court il n’y a même plus de prise ». Et les spectateurs me disent souvent : « mais ce n ‘est pas le même spectacle », non c’est une suite. Finalement je suis un auteur vivant et mes textes sont vivants ils grandissent vieillissent et souvent c ‘est comme le vin. Et je crois que je suis un vin de garde. Voilà et d’ailleurs quand vous le verrez il aura encore changé.
A bientôt !

Signé : Michel Boujenah (Le fou)

Biographie

Né le 3 novembre 1952, Michel Boujenah arrive en France à l'âge de 11 ans. Il souffre beaucoup de la séparation avec sa terre natale, à cet âge, il commence à élargir son territoire sans encore quitter complètement la chaleur familiale. Ecole communale dans la banlieue sud de Paris, nul à l'écrit, formidable à l'oral, mais cela ne suffit pas pour être bon élève. Il comprendra cependant que ce n'est pas parce que l'on parle beaucoup que l'on a rien à dire.

15 ans : il entre à l'école Alsacienne, une grande chance. Il commence le théâtre. Il fait un exposé devant sa classe sur le "Dernier des justes" d'André Schwartbart. Pour la première fois, il sent qu'avec sa parole, il arrive à transmettre ses émotions, et toute la classe est émue. Apprécié, on ne se moque plus de lui. Il vient de faire sans le savoir son premier spectacle tout seul.

De 15 à 18 ans, en vrac : la politique, le mouvement lycéen, l'antipsychiatrie, des envies de changer le monde. Il lit Marx, Reich, Brecht.

Après le baccalauréat, il décide de devenir acteur "d'avant garde", il passe le concours de l'Ecole National de Strasbourg où il est recalé. La cause : son accent. Il lui colle à la peau. Tant pis pour l'école. Il fonde une jeune compagnie théâtrale. En dehors de son expérience de théâtre amateur qui reste fondamentale, il ne connaît rien. Qu'à cela ne tienne, il dit qu'il est, avec ses camarades "professionnels".

Six spectacles collectifs, pas beaucoup de succès mais un intérêt certain de la profession et du Ministère des Affaires Culturelles... Première subvention. Pendant cette période, il fait du théâtre partout où il peut : dans les cités de transit et dans les lycées, toujours avec des enfants, surtout avec des enfants inadaptés. Il ne peut leur apprendre grand chose car il n'a que vingt ans, alors il essaie de leur communiquer son enthousiasme pour la création théâtrale. Il est le dernier de cordée, ce sont les enfants qui inventent, il les suit. Ainsi lui aussi fait son apprentissage.

Au bout de six ans de travail avec eux, il décide de faire pareil. Il se met à parler de lui et redécouvre son enfance, ses racines, son judaïsme, la force de son accent et toute une source imaginaire de souvenirs et d'inventions. Il aura bien du mal à expliquer que ses personnages sont fictifs, il ne raconte pas sa famille, il l'invente. Il écrit Albert, son premier spectacle. Il connaît le succès : c'est magnifique ! Il est le premier surpris, ses compatriotes viennent en masse. Mais le sentiment d'exclusion est encore là. Il entend encore ça et là : "tiens, un spectacle pour les juifs tunisiens !". Les autres ne peuvent pas comprendre, c'est assez limité. Les gens du théâtre disent de lui qu'il fait du music-hall et ceux du music-hall qu'il fait du théâtre. Mais comme cela marche, si le théâtre se ferme, le music-hall s'ouvre.

Ensuite ayant peur que le personnage lui colle à la peau, il écrit Anatole : échec total. Il fallait couper avec Albert mais pas avec ce qu'il y avait de lui dans Albert. Il jouera le spectacle cent trente fois pour comprendre cela. Triste ensuite, il brûle tout ce qui touche à ce spectacle.

C'est pour cela qu'il écrit ensuite un hymne à la mémoire : Les Magnifiques. Il retrouve le succès et se moque des remarques d'exclusion. Il lit Albert Cohen et cela le rassure.
En 2008, après pratiquement trente ans de scène en solitaire et après avoir découvert le plaisir de changer, d’improviser et d’inventer tous les soirs des prolongements au texte écrit, Michel Boujenah décid de faire un nouveau spectacle où il sera en liberté : Enfin libre.

En 2013, il revient sur scène avec un nouveau spectacle : Ma vie rêvée.

Parralèlement, le cinéma lui fait de l'oeil et Michel Boujenah connaît son premier succès cinématographique avec Trois hommes et un couffin (1984) pour lequel il obtient le César du meilleur second rôle masculin.

Spectacles :
Albert 1980
Les Magnifiques 1984
L'Ange Gardien 1987
Elle et Moi 1991
Le petit Génie 1994
Mon Monde à Moi 2000
Les Nouveaux Magnifiques 2004
Ma vie rêvée

Anouar Brahem English Page

The Astounding Eyes of Rita , an EMC album.

This year marks the tenth anniversary of the album. And the interest of the audience is still there, as if it was the first year.

On tour 2019/2020

With:
Anouar Brahem: oud
Klaus Gesing: bass clarinet
Björn Meyer: bass
Khaled Yassine: darbouka, bendir

A delightful new assembled by Tunisian oud master Anouar Brahem.
The combination of the bass clarinet with the oud suggests a link to Anouar's Thimar trio, but this East/West line-up often feels closer to the more traditionally-inclined sounds of Barzakh or Conte de l'Incroyable Amour. Klaus Gesing, from Norma Winstone's Trio, and Björn Meyer, from Nik Bärtsch's Ronin, are both players with an affinity for musical sources beyond jazz, and they interact persuasively inside Brahem's music.
A dance of dark, warm sounds, urged onward by the darbouka and frame drum of Lebanese percussionist Khaled Yassine. The album is dedicated to the memory of Palestinian poet Mahmoud Darwish.

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Blue Maqams , new album, October 13th 2017, ECM

With:
Anouar Brahem: oud
Dave Holland: doublebass
Jack DeJohnette: drums
Django Bates: piano

Potential 2020/2021 tour with:
Anouar Brahem: oud
Dave Holland: doublebass
Django Bates: piano
Nasheet Waits: drums

In recent years Anouar Brahem has carried his ideas on marrying the formal sophistication of Western chamber music and the richness of the age-old Arab musical tradition a long way. But now, with Blue Maqams, he is taking up his fascination for jazz once again. Here, we might say he picks up again where he left off twenty years ago with the album Thimar. This time round, he planned another small group with some highly talented jazzmen for his new recording to be made in New York in spring, 2017. In fact, this was to be a delightful reunion including Dave Holland again, plus the jubilation and harmonic sophistication of Django Bates on piano and the subtle rhythms of legendary drummer Jack DeJohnette. Based on original compositions combining superb melodic refinement with a deliberately simple formal organization to allow space and total freedom for the powerful creative talent of whoever is improvising, Anouar Brahem develops a lyrical universe here that is both utterly coherent in aesthetic terms, whilst offering a wide range of varying moods. Showing his total commitment to rhythm as well as expression, he works simultaneously on finely woven blends of timbre, the delicate balance of the dynamics between instruments and the ever-richer passages constant interaction between these great improvisers gives rise to.
In April 2018, a few months after the official release date of the album, the quartet undertook a tour across Europe where they appeared in several large, prestigious concert halls such as the Philharmonie de Paris, the Elbphilharmonie in Hamburg and the Philharmonie in Munich.

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Souvenance , former album, January 2015, ECM
On tour 2019/2020

Music for oud

This project is performed in 2 formations:
- the quartet
with Anouar Brahem (oud), François Couturier (piano), Klaus Gesing (bass clarinet ), Björn Meyer (bass)
- the quartet plus a string orchestra of 20 musicians

Probably Anouar Brahem has never gone so far into the balance between formal elegance and freedom of expression, lyricism and restraint, sensuality and asceticism, as he does here with this new repertoire which seems to ideally synthesize almost fifteen years of his personal and aesthetic quest for an authentic "common understanding" between Orient and Occident. Leading a brand-new Quartet, Brahem here revisits every facet of a musical universe that is at once melancholy and introspective in integrating his sensibilities and instrumental languageundeniably anchored in the Arab traditionwith the Impressionist, evanescent piano of colourist François Couturier, the pulsing sensuality of Björn Meyer's electric bass, and the misty, dreamlike, Nordic romanticism from the bass clarinet of Klaus Gesing.
As if to further emphasize the hybrid nature of his universe, here Brahem plunges his quartet for the first time into the sound-fabric of arrangements that are both sumptuous and minimalist, orchestrating a string-ensemble where the soloists (beginning with the melodic enchantments of the oud) are presented in an organic, voluptuous setting which is particularly stimulating. With ever more refinement in its melodic lines and at once contemplative and subtly narrative in its developments, the music contained in Souvenance possesses those qualities of self-evidence, naturalness and simplicity which are the hallmarks of works of genuine inspiration.

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Biography

Anouar Brahem is the oud's conjuror, an authentic master at bringing out the acoustic magic which this age-old traditional Oriental lute carries inside its calabash: the musical heritage of the Arab and Islamic worlds. Brahem is a phenomenon, a concentrated mix of prolific paradoxes: he is a supremely subversive classicist; a solitary soloist, resolutely open to the world; and a "culture smuggler", a man ever inclined to venture beyond his own limits and push back musical frontiers... without yielding an inch to aesthetic standards forged across time and tempered with deep respect for tradition.

Because he has always recognized this fundamental complexity, it has become his strength. And because he's sought to weave this abundance of influences and disparate passions inside the very material of his work and compositions for nearly forty years, Anouar Brahem now creates music free of any named traditional influences but rather in his own image, with the bewitching poetic colours of the oud to enrich a host of diverse musical canvases.

From the rich repertoire of Jazz - John Surman, Dave Holland, Jan Garbarek and Jack DeJohnette are just some of the leading players to succumb to Brahem's melodic spells - to the multiple and diverse traditions of Mediterranean and Oriental influence, (from his native Tunisia to the confines of India and Iran), his sensitive yet rigorous music constantly redefines a cleverly composite universe of poetry and culture, ever balancing between discretion and sensuality, nostalgia and contemplation.

Some landmarks...

Born in 1957 in Halfaouine, in the heart of the Medina in Tunis, Anouar Brahem was ten when he began studying the oud at the National Conservatory in Tunis, and later pursued his apprenticeship with the great master Ali Sriti; it was an entry deep into the art of the maqamat, highly complex, ancestral and modal, in the Arab tradition of classical music.

In an Arab musical environment where popular songs and crowded orchestras dominated - the oud was reserved for accompaniment - Brahem revealed his complex and multi-faceted personality by spontaneously undertaking a personal mission to restore the oud to the status of an emblematic solo instrument in Arab music, whilst at the same time breaking with tradition in his work as a composer by integrating elements of jazz and other musical traditions from the Orient and the Mediterranean into his new works.

In 1981, motivated by the desire to team up with other musicians from a variety of different aesthetic backgrounds, he moved to Paris for four years. It was to be a decisive period for him: he collaborated with Maurice Béjart and above all, composed numerous original works, notably for the Tunisian cinema and theatre. This was fertile ground for his orchestral experiments, because he introduced new ways of playing and even hitherto unknown instruments into the fundamental Arab tradition.

On his return to Tunisia in 1985, he continued to do research in the field of composition. The first performance of Liqua 85, an ambitious work that brought Turkish gypsy and Tunisian musicians and certain French jazzmen together (Abdelwaheb Berbech, the Erköse Brothers, François Jeanneau, Jean-Paul Celea, François Couturier and others...) earned him a major prize, the Tunisian Music Award, and with the subsequent acclaim, the offer of the post of conductor for the City of Tunis Music Ensemble. He remained at the head of this institution until 1990, opening minds and talents to creative innovation and improvisation, whilst pursuing some thorough work on the classical repertoire. Recognized by now as one of the most innovative of contemporary Arab musicians of his generation, Anouar became a reference with young composers and oud players. He had established a firm reputation with his peers and the public alike.

In 1989, Anouar Brahem experienced another decisive turn in his career when he met producer Manfred Eicher, who gave him the opportunity to record Barzakh for his highly prestigious ECM label. This first album was to mark the beginning of a particularly fruitful association which, in the space of almost thirty years, has seen Anouar Brahem in the company of some of the world's most talented musicians, whatever the genre or tradition: Barbarose Erköse, Jan Garbarek, Dave Holland, John Surman, Jack DeJohnette, and Richard Galliano, to name only a few. To date, Brahem has recorded no fewer than 11 albums, all of which have been acclaimed by the public and the international critics. This eclectic but coherent discography includes: Conte de L'Incroyable Amour (1991), Madar (1994), Thimar (1998), Le Pas Du Chat Noir (2002), The Astounding Eyes Of Rita (2009), Souvenance (2014) and today Blue Maqams (2017) - all innovatory and timeless albums, allowing Anouar Brahem to confirm over and over again his role as one of the rare composers and musicians able to create music both rooted in a highly sophisticated but ancestral culture and eminently contemporary in its global ambition.

Particularly interested in art in all its forms, Anouar Brahem composed parallel to his own works a great deal of music for cinema, theatre and dance in Tunisia during the 80s and 90s; then, in 2006, his love for films became tangible when he directed and coproduced his first documentary film Mots d'après la Guerre, made in the Lebanon following the war between Israel and the Hezbollah. The film was selected for the Locarno Film Festival.

In 2012, shortly after the revolution in Tunisia, he was named a Life Member of the "Beit El Hikma", the Tunisian Academy for Science, the Arts and Literature, and two years later, the CD Souvenance was released - an ambitious double album that is both a luxury aesthetic synthesis of 15 years of experiment in quest of an authentic "meeting ground for reciprocal understanding" between Orient and Occident, and his offbeat response, highly personal and reflective, to the events in Tunisia early in 2011. An audience of no less than 7,500 gave him and his demanding music a standing ovation at its first public performance during the 50th anniversary of the Carthage Festival.

Today, more than ever, Anouar Brahem continues to make regular appearances on the most prestigious stages all over the world, as well as recording more enchanting albums, to the delight of an ever-increasing public as well as his many loyal "fans".

Awards

De Klara's Classical Music Awards: "Best International CD - World" for Blue Maqams (Belgium, 2018)

Echo Jazz Award: "Best International Musician of the Year" for The Astounding Eyes of Rita (Germany, 2010)

Edison Award for Le Voyage de Sahar (The Netherlands, 2006)

Preis der Deutschen Schallplattenkritik (German Record Critics' Award) for Thimar (Germany, 1998)

National Music Award (Tunisia, 1985)

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Review

The album is at once an extension and an audacious departure from the tradition of the oud. Despite his formidable knowledge of the maqarnat, an ornate system of modes that anchors Arabic music, he seldom bases his improvisations directly on the maqams. His phrasing is pure and uncluttered, expressing itself through silence nearly as often as sound. ... Composed of elegantly flowing lines and somber, breathlike silences, the music shimmers with the overtones of the piano. ... Mr. Brahem bases several of the tunes on spare, broken chords, repeated in the childlike manner of Satie. Simple though they are, however, they contain beguiling Arabesques. The three musicians rarely appear at once, performing as a trio on only seven of the album's 12 tracks. For the most part, you hear duets - piano and oud, oud and accordion, accordion and oud. The musicians often double each other's lines, but seldom in unison, which enhances the music's intimacy while producing a floating, echo effect.If every band projects "an image of coummunity," as the critic Greil Marcus once suggested, then Mr. Brahem's trio - part takht, part jazz trio, part chamber ensemble - evokes a kind of 21st century Andalusia, in which European and Arab sensibilities have merged so profoundly that the borders between them have dissolved. The image may be utopian, but its beauty is undeniable.

Adam Shatz, The New York Times

Throughout the record, the musicians maintain an exquisite balance and make only subtle changes in tempo or tone. Their sense of melancholy is so natural and comfortable it's childlike. On this tune, "Leila and the Land of the Carousel" a waltzing rhythm and revolving melody suggest a girl on that classic joyride...When he quit the oud for a while and played the piano instead, Anouar Brahem recovered his powers of musical myth-making. On this record, he creates a fairy tale setting and ultimately a storybook ending. The accordion lays down sustained chords like lengthening shadows in a forest. The piano conjures low-key sunlight and offers overtones of reconciliation. And in the arabesque path of "The Black Cat's Footsteps," Brahem finds a way back home to his beloved oud and to the songbird inside.

"All things considered", USA - National Public Radio

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