Jean-Laurent Sasportes started this work on improvisation with musicians with the musician Peter Kowald (double bass) in 1994. Different little dance pieces have been created out of this work. (Stock, Security, Diva, Young girl, Money, “let the trouble come when the trouble comes” and Ur. The repertory of this Duo work has been and is still presented through many countries around the world under the title : „Short pieces I“ and «Short Pieces II»
„Short pieces I» is composed of : «Security», » the Young Girl», «Diva», “Che sera sera” and «Ur».
«Short Pieces II» is composed of: «Money», «As we like» and «the Vecchia». Some other short Pieces are all ready on work and will soon belong to the repertory.
A different composition of the programme is possible; the length and composition of the evening programme is open to fit the organisation request and should be discussed with the artist.
This performance is based on a principle of structured improvisation; the character and costume of each piece is defined but music and choreography are improvised. It can adapt to any kind of stage or be played out doors in natural places.
Improvisation can be totaly opened, and spontaneous in all the parts of the dance and the music which compose the performance. But improvisation can be also just open to certain parts as which movements will be dances, which atmosphere of the music and the dance will be performed, and so on and so on..
SO appart of the structured improvisation evening called "Short Pieces", i performe also just totaly open improvisation, in which nothing is decided or spoken between the performers.
The collaboration with Hans Reichel (e-guitar and daxophon) started in 2000, with Gunda Gottschalk (violin) in 2005, and with Pierre Jacquemyn (double bass) and Tetsu Saitoh (double bass) in 2006. In 2008, Jean Laurent Sasportes started to work with Gunter Baby Sommer (drums and percussions) and also with Paul Hubweber (trombone); in 2009 was the first stage meeting with Arkady Shilkloper (French Horn, Flugelhorn, Alphorn, Didgeridoo, Alperidoo, Wagner Tuba, Corno da Caccia). In 2014, I started my perform with the musician Wolfgang Suchner (Tuba, trompett)
The collaboration work with the Japanese double-bass player Tetsu Saitoh began in 2006. Since then, Jean Laurent Sasportes and Tetsu Saitoh have been working together on many different projects in Asia (Japan, Corea), South America (Bolivia) and Europe (Germany, France, Belgian).
Through my collaboration with Tetsu, I ha the great luck to meet and perform with many japanese artist in Japan and Corea.
about improvisation, movement and other nice things,
To improvise is not necessary to express yourself in a total spontaneous and impulsive way, just expressing the emotions that you feel at the present time. This is surely also a part of improvisation, but from my point of view, to improvise is also to be able to play with forms, movement, space and energy of motion, in relation with the forms, the movements, the space and the motion of the others who are on stage with you. It is also to be able to "send" a little part of yourself in the audience and have a consciousness of the whole thing.
But overall, it is about to develop a sensibility, which exist in each of us, which allows you to fell as free as possible of any intellectual mental reflexion.
"put in your pocket the little nuts which you have in your head, and let your antenna work"
It is about to manage to put yourself in a special state of consciousness but at the same time to manage to keep a certain distance with that is happening because it is not just a state of trance.
"Thinking kills improvisation"
de l’improvisation, du mouvement et de leurs enfants.
Improviser n’est pas chercher á produire spontanément un matériel nouveau et inconnu mais c’est plutôt chercher á développer progressivement un matériel familier pour le transformer en quelque chose de nouveau et inconnu.
Improviser vient de imprévu, de non prévu, non prévisible; lorsque le non prévu se produit, il crée la surprise, mais cette surprise ne se doit pas d’être systématiquement brusque et soudaine. Elle peut l’être par moments et, lorsque ces moments sont justement bien sentis dans le temps cette surprise prend alors toute sa qualité. Mais il est aussi possible d’exploiter la surprise, qui lentement, presque á son insu, envahi le spectateur ( auditeur ), transporte ensemble ce dernier et l’interprète vers un inconnu que tous deux vont découvrir.