Triptyque émancipation des mots

Content: - Hymne (3 voix / 3 voices) - Bâbord pour tous (2 voix + frappements de mains / 2 voices + hand claps) - Homme de quart homme de demi (2 voix / 2 voices) Three pieces a cappella in spoken-rhythm by Mirtha Pozzi, on three poems by Benjamin Péret. The three poems of this triptych plunge us into the world of Benjamin Péret, a poet who plays with words, blurring all definitions. He himself says to us: "At once satisfied the primordial need to which it corresponds, the language becomes poetry". The choice to compose from Benjamin Péret's poems was quite natural, no doubt prompted by Mirtha Pozzi's attraction to the humor and freedom of writing of surrealist poets. This triptych is composed from: "Hymne", "Bâbord pour tous" and "Homme de quart homme de demi". These last two poems are part of "Le Passager du Transatlantique", a work of youth of the writer who dreamed then to travel while contemplating the big boats that left for America from the port of Saint-Nazaire. Later, he will make trips to Brazil (where he will explore the rituals of Macumba and Candomblé) and Mexico (where he will start to write an anthology on pre-Columbian mythology and legends). For the spoken-rhythmic compositions, how can you escape Benjamin Péret, "The Prince of the Surrealists", the most faithful friend of André Breton? He created a new poetic form, perverting systematically the conventional use of the language and using the "free associations", discovered thanks to "the automatic writing", main tool of the surrealist literary creation. It is possible to interpret only one or two parts of this triptych, indicating that they are part of the "Triptyque émancipation des mots" on three poems by Benjamin Péret. Complete Works of Benjamin Péret are published by Corti editions. Thanks to Mr Bertrand Fillaudeau from Corti editions, to Gérard Roche from the Association of Benjamin Péret's friends and to Géraldine Toutain, musician.