Nearly 20 years after Gilles Deleuze’s suicide in 1995, Peter Stamer, Jörg Laue and Alain Franco draft their own 26 performative “letters” toward the concepts of the alphabet and the philosopher. A performance, installation, concert and symposium – this event dissects Abécédaire , the famous video interview with Deleuze. A venture too big to undertake by three men? “If one doesn’t feel the shame of being a man there is no reason to create art“, says Deleuze. 

In three sessions, between 1988 and 1989, philosopher Gilles Deleuze, sitting in his living room, faced questions of a television interview. The principle was as simple, as sophisticated. The topics he was confronted with followed the letters of the alphabet – one letter, one concept, from “A as in Animal”, to “Z as in Zigzag”. To avoid zig-zagging in his discourse, Deleuze received the list of topics beforehand, and although he worked assiduously on the answers, he then improvised during the recordings. 

It’s the pleasure of both the arbitrary form and Deleuze’s way of thinking through his famous concepts that makes Abécédaire so fascinating: 26 earnest, witty, and instructive seven-and-half hours of philosophy-on-the-go. There was only one condition Deleuze insisted on. Since he didn’t think much of television, the program was not to be aired before his death. 

Alain Franco studied music at the Conservatories in Brussels, Liège and Antwerp and obtained a higher diploma for piano as well as a Diploma of Extended Studies (DEA) in 20th Century musicology (IRCAM-EHESS). He was the full-time conductor of the Champ d’Action ensemble (1989-1993), and since then has worked with, amongst others, the Ensemble Modern (Frankfurt), the Ictus ensemble (Brussels), the Musiques Nouvelles ensemble (Brussels) and the Liège Philharmonic Orchestra. For Rosas and Anne Teresa de Keersmaeker he carried out the musical analysis for D’un Soir un Jour (2006) and the Steve Reich evening (2007) which was shown at PACT Zollverein in 2007. He collaborates regularly with Deufert+Plischke (Anarchiv#3: Songs of Love and War, 2011) or Meg Stuart (Built To Last, 2013). 

Jörg Laue, born 1964 in Gudensberg (Germany), now lives in Berlin. From 1988–93 he studied Applied Theatre Studies at Universität Giessen; in 1994 he founded LOSE COMBO, through which he has been realizing live-art-projects on the borderlines of stage-performance, visual arts and contemporary music. He also created sound-, light- and video-installations and writings, lectures, and been recipient of several residencies and scholarships.

Peter Stamer works as director, dramaturge, mentor and curator in the field of contemporary theatre. In his projects, he is interested in the aesthetic tension between the potency of bodies and their potential to language. His performance and theatre projects, realized all over Europe, also led him to China, Egypt, USA or Israel. His recent works include a.o. The Path Of Money, a documentary/theatre/installation on a traveling banknote through China; the performance For Your Eyes Only on cultural memory, body and blindness; or The Big Event 1 – 3, a documentary theatre play on the assassination of John F. Kennedy. Together with 8 Egyptian and European artists, he initiated and worked on the international building-performance-project A Future Archeology within which spatial structures in Berlin, Vienna, and Cairo were to be built during five months in 2013. .

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