Michel Boujenah raconte son nouveau spectacle Pour toute information concernant le spectacle contacter Corine Legray au 01 60 07 20 51 de Scène Sur Marne. La salle est comble à Lagny-sur-Marne Pourtant une ovation totale l'attend au tombé du rideau. L'ensemble des spectateurs, est debout et l'applaudit à tout rompre, pendant prés de 30 mn! Alors il revient, s'entourant du rideau du théâtre comme un enfant s'enroulant dans sa couverture :"Parfois je rêve de ces moments là, et vos applaudissement ne me réveillent pas, non, au contraire

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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 , motivated by the desire to team up with other musicians from a variety of different aesthetic backgrounds, he moved to Paris for four years.

les programmes d'hier soir

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 , he continued to do research in the field of composition. He remained at the head of this institution until , opening minds and talents to creative innovation and improvisation, whilst pursuing some thorough work on the classical repertoire.

Michel Boujenah : "Il ne faut pas fuir la douleur"

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 , 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 , Madar , Thimar , Le Pas Du Chat Noir , The Astounding Eyes Of Rita , Souvenance and today Blue Maqams - 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 , 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.

Michel Boujenah

The film was selected for the Locarno Film Festival. In , 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 An audience of no less than 7, 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".

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.

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.

ICI Radio-Canada

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.

Son premier spectacle en , Albert, créé au théâtre du Lucernaire à Paris loué pour l'occasion, co-écrit avec Corinne Atlas avec des musiques de Michel Valensi et Geneviève Cabannes, remporte un grand succès. Lors d'une interview, il revient sur ce premier spectacle.

Il y explique que ses origines juives sont fondamentales pour lui, en tant qu'élément personnel constitutif de son identité, mais qu'il ne souhaite pas construire son humour sur cette image de juif pied-noir, ce qui le pousse plus tard dans sa carrière à en partie renier ce premier spectacle. Ses origines juives et tunisiennes, son enfance d'immigré forment pour lui une situation personnelle complexe, où il évolue entre reniement et acceptation de sa différence.

Il juge néanmoins qu'elles sont sans importance pour son humour, que ce qui compte pour lui c'est que son humour soit sincère [8]. Son second spectacle Anatole est un échec, si bien qu'il reprend son personnage d'Albert. Le suivant, Les magnifiques, une série de portraits de juifs franco-tunisiens est à nouveau un grand succès.

Il est alors reconnu par le public, les médias et le monde du spectacle, et sa carrière est lancée.

Saint-Orens-de-Gameville. Michel Boujenah : «C'est merveilleux de rêver !»

En , il débute avec succès une carrière d'acteur comique de cinéma, avec Mais qu'est-ce que j'ai fait au bon Dieu pour avoir une femme qui boit dans les cafés avec les hommes? Il y joue son rôle de prédilection, celui d'un homme profondément gentil et un peu naïf.

En , il joue dans Trois hommes et un couffin de Coline Serreau avec André Dussollier et Roland Giraud , et obtient le César du meilleur acteur dans un second rôle et son premier grand succès d' acteur de cinéma où il devient populaire. Il joue la suite 18 ans après en [9]. En , il fait partie de la sélection de candidats pour le César du meilleur acteur , pour son film Le Nombril du monde d' Ariel Zeitoun , où il rompt avec ses rôles de comiques.

Michel Boujenah au festival de Cannes