Delphine Depres "Doline"


Delphine Depres "Doline"

- TEF Vol.10 Performance [Recommendation Program]



TitleDelphine Depres "Doline"
TEF Vol.10 Performance [Recommendation Program]
Date2016.1.10(Sun) - 2016.1.11(Mon)
Admission1,500 yen
Tokyo Metropolitan Foundation for History and Culture, Tokyo Wonder Site
VenueTWS Hongo
Delphine Depres

"Doline" is a performance using the staging of sand on different states, movements, points of view and ways of listening. It's an extension from "Aral", played at TEF Vol.9. Every sound will be produced by capturing tiny noises made by frictions of sand against other materials including sand itself. Delphine has built dedicated object/ instrument/ stage which allow playing sound and images in real-time. 'Doline' means a hole in the ground caused by collapse of the surface layer. Sand is the result of billion years of erosion and is now a disappearing resource because of human's utilization. It's characterized by its ability to flow, constantly moving, both one and multiple, minuscule and gigantic.

Click here for Interview with Delphine Depres!!


Photo: Violette Hello

Ticket Information

Date: January 10 (Sun), 11 (Mon. National Holiday), 2016 *Finished
Start: 19:15 (Doors Open: 19:00) *Duration 40 mins
Venue: Tokyo Wonder Site Hongo
Ticket: 1,500 yen 
  1. 1. Booking should be made by E-mail or Fax.
    Email: / Fax: 03-5689-7501
  2. 2. Please inform us of your name, phone number, date/ time/ name of the performance and number of tickets with a subject of "Booking for OPEN SITE". (On booking by Fax, please let us know your Fax number, too.)
  3. 3. Payment should be made at the venue on the day of performance.
  4. 4. Booking will be closed by 17:00 of the day before each performance, or as soon as the seats are fully booked. For the latest ticket information, please check this page.
  5. *Please note that program content may change due to inevitable reasons.

Additional ticket information (Jan.11)

(at the door only) Additional ticket for standing will be sold on Jan. 11.
Please visit reception desk and receive number card from 18:00, enter the venue in numerical order from 19:10.
Please note that number of additional ticket is very limited and there is a possibility that you can't enter the venue even though you have a number card. For more information, please contact:


Delphine Depres

Graduated from the Geneva University of Art and Design in 2008, visual artist, video director and performer, Delphine's research and experimentations are focused on exploring the question of theatricality in projected image. Using activated video devices, she tries to create a tension between different levels of "realtime" experiences. Movement as well as emptiness and light around shapes visible in actual space as well as in the form of images define the foci of this tension. She manipulates "poor" and "insignificant" materials from the everyday. Most of her work is conceived in close relation with sound artists and sound issues.


Swiss based artist, Special Prize winner of TEF Vol.9 (2014). This time, new work "Doline" which develops from previous work "Aral" will be performed.

― Firstly, please tell us the concept of your performance.

'Low-tech' materials play an important role in my work. It was interesting for me to use it in Japan because even if 'high-tech' is everywhere in this country, people seem interested by a performance that puts human back to the center. That's what I'm trying to do by manipulating 'poor' material from the everyday and by playing with scale. It lets appear human point of view, mistakes, things that we can't see as humans, and everything that makes us feel small. Some people told me that they were especially touched by that point last year. By dramatizing the tiny, the insignificant, the 'nothing', I try to create a tension between those two dimensions: spectacular and non-spectacular. That non-spectacular dimension is a kind of manifesto for me.

― What will your new performance, "Doline" be like?

In the same way as "Aral", I want to put in perspective an ecological question by just suggesting it in the title. The last scene of "Aral" was made with sand. It's a limited and disappearing resource, but nevertheless it seems inexhaustible. For "Doline", I want to propose a performance only on and with that material to develop its poetic potential and to focus on this problematic of sand today. Moreover, sand is a symbol of the passing of time. I'm interested in the way we apprehend time today as well as different cultures. To focus on a smaller sized material such as sand is also literally a way to dig deeper into my last performance, looking for something that I don't know yet. I try to emphasize things that first seem small, to make them seem gigantic. I will keep on playing with scale but using sound this time, by capturing micro-sound made by the movement of sand

― How do you compose your performance? Also, what is "real-time," in your performance?

There is no specific rule, but first, there is what the camera shows during my research phase. It's a bit like a painting: you try to put something on the canvas and then take some distance to get an overview. I use sound in the same way even if it's really different to understand, because perception of time is direct with sound, it's immediate. Concerning the construction of the performance itself, it's different from what I'm doing when I'm performing live. When I build the performance during my research phase, I'm looking for "tableaux in action", "scenes" that works for me and then organize it in a kind of order that seems more coherent to me. It's definitely an intuitive way to build the performance. The live performance moment is an interpretation of the research I did. I think that what is experimental in my work resides in that research phase. I'm interested in deconstructing simple images to reveal their 'behind the scenes'. It could be done through theatre, cinema, dance, or whatever... but as a multidisciplinary artist, I'm interested in crossing boundaries. In the end, the result is still a point of view on the world that surrounds us. For the audience, I hope that real-time issue is quite obvious because of three levels of time that are in my performances: small manipulated materials, the screen and the perspective on both of them.
― Is there any message for the audience?

I would say that it's all about deconstruction of the "spectacular". I hope that people who will come to the performance will have more questions and pleasure with my work. I also hope that they will come at the end for discussions. That's what I try to do with performances, to create exchanges spaces.

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