by Anouck Cape | Vol 32 (1) 2014
For several years, Isabelle Le Gouic has been developing a multifaceted work combining poetry, drawing and music. The relationship to space, conceived as a psychic space as well as a game, is fundamental in her creations. Her literary work is based on sets of skilful puns addressing complex issues.
Isabelle Le Gouic’s unique trajectory, involving psychiatric hospital and art therapy, brought her from the hospital to the art space, resulting in the full accomplishment of her identity as an author. This successful transition began in the game set up by the hospital which she then developed by herself.
by Emmanuelle Duguet | Vol 32 (1) 2014
In the shared space around a work, the one who draws and the one who watches actually do the same thing: they play with matter and imagination. Based on playing and spontaneity, CoBrA movement collective creations were an opportunity to mix up the “distributions” (Rancière, 2000, 1987) in art experience. Arriving at this point has allowed us to find a way to think of artistic creation within the various art workshops.
by Holger Schmid | Vol 32 (1) 2014
Starting from the concept of a “play-drive” as introduced by Friedrich Schiller in his Letters on Aesthetic Education, the present study explores this concept at the interface of the crossroads between philosophy, anthropology, and aesthetics. In order to grasp what may be called the “space” of these phenomena, reflection must engage the relationship between Ancients and Moderns as well, to show that the figure of “the child” in Nietzsche and Heraclitus is apt to give its full dimension to Schiller’s theory of “play” as the consummation of humanity.
by Sarah Willems | Vol 32 (1) 2014
Le Benshi d’Angers (The Benshi of Angers, 2011), a performance by the contemporary artist Patrick Corillon, during which the artist tells the story of a fictive daydream, constitutes the starting point of this contribution. The author’s analysis of the work has led him to consider whether Freud’s “Creative Writers and Day-Dreaming” (1908e [1907]), in which he postulates a relation between “phantasy” and literary creation, may clarify the creative process that generated the artist’s work. In answer to this question, the author refines Freud’s hypothesis, for Corillon’s work, by arguing for a relationship between the creation of narrative fiction and sleep fantasy, as conceived by Pierre Fédida. The artist benefits from moments of insomnia in order to transform them into creative moments and during this creative process the “potential space” may engender itself. This hypothesis is consolidated by the study of a second work by Patrick Corillon, La Forêt des Origines (The Wood of the Origins, 2008).
by Marie Lenormand | Vol 32 (1) 2014
Many psychoanalytic theories address the question of the space of play. Based on Freud, the author first of all tries to show that the originality of psychoanalysis lets us consider the space of play as a scene (Bühne) which opens onto the Other Scene, the unconscious. A structural analogy between play space and tragic scene will be considered. Next the author will study the Winnicottian invention of potential space which allows us to explain the experience of play from a psychogenetic point of view. In this perspective it will be important to locate the area in which play takes place, an area of illusion that Winnicott describes as paradoxical. Finally a third perspective considering how play constitutes its own symbolical space will be considered. The author will propose that play institutes a third space allowing something to be said and at the same time a subjective division.
by Marie-Pierre Lassus | Vol 32 (1) 2014
Playing, for a musician, is not reducible to the production of notes but involves entering into resonance with the movement of music through different levels of integration of the gesture. Between sounds and silences a “space in movement” wells up, creator of a new subjectivity, always “to be born” like the music itself. This opening into a new spatiality is favourable to the creation of a milieu where people can “grow together” while all remaining singular. The orchestra constitutes, in this regard, an ideal of harmony when guided by a leader able to coordinate the symphony of human rhythms as musical, out of the space of resonance in each one. So, we can see that playing is an act of freedom, revealing the human power of acting.
