CASTELLAMMARE DEL GOLFO, Sicily – “That’s not Italy!” Such was the idea behind a message a Facebook friend wrote when six days ago I posted a brief dream moment that I captured in a video when Ornella and I found ourselves in the back streets of this Sicilian town, hearing loud Italian music coming from a window while church bells rang simultaneously. Not Italy, perhaps. But not Sicily? A few days later, we encountered a traditional parade through the marina area of the town, and Ornella told me that it was the kind of thing she had so many fond memories of in her childhood here. So, was that not Sicily?
I know what my Facebook friend meant: It’s a little like those American novels set in Paris in which the French are all about wearing beret hats and eating baguettes and they are “oh so quaint, oh so silly.” But sometimes the clichés and real life come together. Castellammare del Golfo, Yesterday & Today
There was an exhibit of his handwritten manuscripts and letters on the walls, and his old camera is still there, and the owner of the bar decided during the lockdown this year to publish a new edition of his collected poems called, Timpesti e Carmarii, which first appeared in print in 1938, when the poet was 46 years old.
The parade that I show in the video, by the way, was part of a huge celebration of an evening in the presence of the famous Italian fashion designers, Dolce & Gabbana, who were in the town to show the film about them called, “Devotion.” (Dolce was born outside nearby Palermo.) The film was made by Giuseppe Tornatore, who is a famous Italian director, who filmed, notably, “Nuoco Cinema Paradiso,” and as he also has had a long association with Ennio Morricone – who died recently – Morricone composed the music for the film.
Tornatore’s was a fabulous film, by the way, although it was also clearly designed as an advertisement for the fashion house. For me, best of all, it was a great excuse to bring the past back to the presence in the form of the parade. There was a fabulous moment during the parade – which I put in the video – in which the performers sing a popular song from here, called, “Si maritau Rosa.” This will strike home very strongly with the actors of TAC Teatro (of whom I am one) as it is a song that we are singing in the new show, and which none of us knew anything about. It was, of course, Ornella’s idea.
But in any case, there it was, the past in the present. The folklore moment of ritual, bright colours, dance and music that may not be Sicily in many peoples’ minds, but it certainly was Sicily last weekend! I’ve edited part of the video in old looking black and white to show that the images we see of the town and the parade look like something we imagine having seen in the past, no more relevant to today…but then the color comes and it looks very much like today…as the past would have no doubt to our eyes had we been there…!
Despite the lockdown, despite the Paris transport strike, despite the gilets jaunes, despite the mice we had at home for a while, and finally, despite the two-month-long illness that I had in January and February that was apparently NOT coronavirus, everything worked out fine in the extraordinary year of work that we all had at TAC Teatro, of which Ornella Bonventre is the director, and I and six others are actors. It culminated with a high moment at the beginning of June when we began to make a fabulous video of our show that we are hoping to complete soon.
Although Ornella created TAC Teatro several years ago and it had some success based in Milan, when she moved to in Paris in 2017, it was impossible for her to not transform the project into both an Italy- and France-based company. But there was much work and preparation involved in rebuilding the company in her newly adopted location. After spending her first year in France shuttling back and forth regularly to Italy to operate TAC there while living in France and laying the foundation for the company in its second country, she finally settled down to working full-time building the company with new actors in France.
Marine Lefèvre and the old woman
That began last fall in what proved to be difficult timing: starting with the gilets jaunes occupying the streets every Saturday (which did not really directly affect the project) and then the metro strike came in November and lasted for around two months – the longest ever such strike – and made the challenge of creating the company all the more difficult, as the actors had to come for their training, creation and rehearsal sessions three times per week by foot, car, bike or any other manner possible aside from metro from all around Paris.
We thought that would be the worst of it, when along came the Coronavirus and its lockdown. Still, the metro strike gave us all the fighting spirit and a sense of imagination so we were able to continue creating the show and training during the lockdown through three-times-per-week online video conferences.
When I say creating the show, here’s what I mean: Since last fall and the beginning of this new phase of TAC Teatro, the actors of the company used the method that Ornella specializes in for creating theater shows: The French call it écriture de plateau, and it entails the actors all together, along with the director, writing the show through body actions, personal texts, music, improvisation and an original idea that Ornella presented to us in the form of a story that was intended to fire up our imaginations and get our creative juices going.
Poster for Première Etape in October
We performed a first “work-in-progress” show of the piece in the small theater at the Theatre Armande Béjart in Asnières-sur-Seine in October, which we called, “Première Etape,” or first step, and it was well attended by the public. We were about to do the second stage of that in February, after we spent a week the whole company together working in residence in Italy in Emilia Romagna. But, yes, the day we were supposed to put on this second show for the public, France declared that anyone who had been in Emilia Romagna in the previous 14 days had to go into quarantine, as it was the epicentre of the then “young” coronavirus in Europe. So we had to cancel the show. Fortunately, however, none of us got sick of the virus.
Then came the Paris lockdown a couple of weeks later. We continued working online, but we had to cancel the premiere of what was going to be the completed show, which we had scheduled to perform in Asnières in late May.
Still, the story had a happy ending when in early June the mayor’s office of Asnières donated to us the big stage of the Armande Béjart Theatre, as well as the city’s technical crew, to film the piece. It was a gesture to help out the creative sector, so badly hit by Covid.
Now I want to talk very briefly about the extraordinary synchronicity in the creation of this show, which for the moment we are calling “Terminus,” but which might change its name before it is staged. There was an amazing foreshadowing of subsequent world events reflected in this creation that we did not do on purpose, but that somehow came about of its own accord. In brief, the piece is about a group of immigrants who come from various parts of the world to a land where they hope to make a new life. They are, in fact, badly treated by the locals, and even duped by the military, and their world begins to fall apart; just as had their own countries before their emigration.
During creation in Italy as the Constructeurs de Reves
Working behind them, invisible and unknown to them, however, are the “constructeurs de rêves,” or the dream creators, who try to help them. The dream creators are dressed in white doctors’ coats and work in another layer of reality to try to change the course of human actions.
When the coronavirus came along, the show took on another sense to us, as we could not believe the way our futures – the future of the whole world – had fallen into the hands of doctors in white coats, and for everyone on earth almost without exception, their world had fallen apart.
Janice Zadrozynski in character for the TAC show
I have often found while writing creatively that such strange synchronicities with real life do indeed happen. And now that we have almost completed the show, we hope that the constructors of dreams will allow the world to get back to some state of normalcy in the coming year so that we can finally perform it in public. I will keep you posted on this blog as to what happens.
The company consists of Ornella directing and the following actors acting, performing, playing music, and writing the show all of us together: Julie Lossec, Janice Zadrozynski, Marina Meinero, Pacôme Puech, Marine Lefèvre and Sara Baudry. You can find all of our bios through the TAC Teatro “About us” menu.
And, by the way, I have only spoken about our new show here, but we also performed in public this last winter doing a street action to commemorate the day against violence to women, for which we also created quite a complex flash mob performance, and we ran an online open stage for all kinds of performances throughout most of the lockdown . So it was, in the end, a productive season for TAC Teatro, despite all the elements and human nature itself seemingly fighting against us.
An exterior view of the balcony from which the phone fell. It is the first balcony on the left.
CASTELLAMMARE DEL GOLFO, Sicily – The people of this small Sicilian town on the shores of the Mediterranean have a higher belief in magical events than most modern world peoples, I believe. They still have magicians who help with family problems and health, and they consult other seers and foretellers of good and bad fortune, and believe many superstitions that I do not. I won’t get into that any deeper. But last night I suddenly felt like maybe there had been an almost supernatural phenomenon occurring when Ornella’s iPhone survived a fall of about 6-meters, landing glass-screen down on the rough pavement of the road and then sliding at least 20 meters with the same glass screen face down, before coming to a rest in a busy intersection where no cars passed until after Ornella recuperated the phone. It was a completely unprotected phone – i.e., no protective case or cover or screen protection. Both of us were certain that there would be NOTHING left of the screen or the phone. In fact, it did not have a single scratch on the glass or anywhere else – except maybe a tiny smudge on a side corner – and it functioned perfectly thereafter. How was this possible!?!?!?
The iPhone slid from the balcony along the pavement to the intersection precisely under the spot where the closest car is located in this photo.
Do you remember Ripley’s Believe It or Not!? Well, for me, this is a case for that franchise of weird phenomena! I think if you look at the photos here and see the fall it did and then you look at the photos of the phone that I took today, you will also find this nearly impossible to imagine how it could have happened. How many phone screens have I broken by dropping a fully protected phone just a couple of feet!?!?! This was an unprotected iPhone 7 that she bought last year. It remains in impeccable condition.
How on earth was this possible? Ask Ripley. But again, I must say as I did in yesterday’s post, that we feel blessed to be in Castellamarre del Golfo. And even more so now!!! (Could the iPhone’s survival be because generations of Ornella’s entire family on her mother’s side once occupied all the buildings on either side of the street where the phone fell, and they are still with us in spirit now, watching over her? Oh, geez, I’m starting to transform into a local!!!)
A couple more angles of the iPhone in perfect condition after its 6-meter fall.
CASTELLAMMARE DEL GOLFO, Sicily – How many times during lockdown in Paris from March to May this year did Ornella and I say to each other that if we managed somehow to get to our favorite summer retreat again this year we would feel blessed? No doubt too often to count. In any case, we have now been here for three weeks, and we still feel blessed every day. After the confinement of lockdown we find ourselves in an average of 30 degree temperatures, cloudless skies and warm, smooth Mediterranean waters. Still, it might be the calm after the storm, but I am reading the Italian press daily to keep an eye on the possibility of rough waters to come, and a storm after the calm. Needless to say, it is a holiday like none before….
But this small former fishing village of Castellammare del Golfo – the castle on the sea – on the north coast of Sicily, less than an hour’s drive from Palermo, is about as good – and for the moment safe – as holiday locations can come. Sicily was not as badly hit as the rest of Italy with the virus, suffering still to date fewer than 300 deaths, and around 3000 infected (that’s a pretty high percentage of deaths per infections, though, isn’t it?) Since we came here, though, the town of 15,000 people is filling up rapidly with tourists from the rest of Europe, and we hold our breaths and wear our masks in an effort to believe that things will not this summer get out of hand here as they have in some other vacation spots in Europe, such as southern Spain.
We chose to give ourselves a quick escape method should things go wrong, by having driven here from Paris in my old Ford Focus, taking the ferry boat from Genova to Palermo, with the car aboard. It was a peaceful, fun, in fact magnificent journey, topped off on the boat by a fabulous seafood pasta in a restaurant that only we and an English couple, and perhaps another one or two people, decided to use. So there was little worry about the virus spreading there! The point was that if the pandemic grew back into the danger zone, as it has in Spain, we could just jump in the car and drive back to Paris or some other country. (Plus the flights were getting really expensive.) A Free Music Performance in Castellammare del Golfo
We feel so blessed to have had this summer in Sicily, in fact, that this year we decided that we would live it a little differently than in past years: This year is devoted to staying as much at home and at the beach as possible, while avoiding the center of the town as much as possible on the weekends. The reason for that is that if you are currently aware that there is a virus out there, you would be entirely unaware were you to venture out into the nightlife of Castellammare del Golfo this summer: It is difficult to find any bars or restaurants not bursting with clients wearing no masks as if there were no cases of the virus at all on this island. (And, yes, that is actually almost true: the known daily cases are rising in single digits at the moment…but….)
In years past we had decided that every year we would discover a new part of this historical jewell of ancient Mediterranean civilisation. But this year, as I said, we are staying put and feeling blessed. Personally, I decided that I would use my experiences of learning about the island in the past years as a base for a new project: Reading the daily Giornale di Sicilia not only for the coronavirus statistics, but also in order to practice my Italian, and make a real, strong effort to finally learn the language as well as another way of exploring the local culture and getting to know the place of Ornella’s birth and childhood upbringing much better.
And what an education it is turning out to be. In addition to reading stories all about the places I have visited in the last few years with Ornella each summer – Marsala, Palermo, Trapani, among other cities, and such ancient archaelogical sites as Segesta or the Valley of the Temples outside Agrigento (which is also the home of Pirandello, Camilleri and Sciascia), as well as Scopello and Erice, the medieval town on the hill – I have found the second most comprehensible stories for my limited Italian to be those about all the local crime. Yes, like any such local newspapers, the Giornale di Sicilia – preferably my local Trapani edition – brings me daily news of mafia arrests and crimes.
This is particularly interesting to follow as it turns out that this beautiful small town of Castellammare was itself the birthplace of many of the figures of the legendary New York City mafia in the 1920s and 1930s, including Joseph “Joe Bananas” Bonanno, Salvatore Maranzano, Vito Bonventre, and was the base in Sicily of Don Vito Ferro who decided to try to take over control of the New York mafia from Giuseppe “Joe The Boss” Masseria – who had the famous future boss “Lucky Luciano” on his side – and they all got into a battle that became known as the Castellammarese War – named after this town, yes – that lasted from February 1930 to Apr. 15, 1931. The faction from this town won that war, by the way, but then the whole crime syndicate would change form, leading to the so-called sharing arrangement set up by Luciano and called “The Commission.”
Ornella Bonventre at the Greek Theater in Segesta, Sicily
Falcone and Borsellino
I see this beautiful little seaside town more like a future Monaco, however, and I hope it takes as long as possible before any such transformation happens. But the nightlife grows every year, the real estate value grows, and the boats keep getting bigger. For Ornella and I, as I say, we are enjoying the calm, the sun and the sea. And it turns out that there are numerous free concerts and other events – notably, and partly on the theme of this blog item, we saw a theatrical production the other day about a fictional interview with famous Palermo anti-mafia judge Paolo Borsellino, who was assassinated by the mafia in 1992 (weeks after his fellow Palermo anti-mafia judge Giovanni Falcone was also assassinated)….
So, after the storm, a break. Let’s hope it continues. I’ll check back in as soon as possible with more news about virus life from here or elsewhere….
Borsellino Theatre Piece in Castellammare del Golfo
An incredible bit of synchronicity or something else has come about recently between the troupe of TAC Teatro and me. We are working on our first full-blown play, and in recent weeks there has been a sudden incorporation of a couple of bits of music that I had nothing to do with but that lie at the heart of my life-long musical loves.
As it turns out, both of the pieces were introduced by the same member of the company. But the skills and talents that we have in the company mean that the music can be performed to a degree that I never imagined likely. I mean, I knew we have great musicians in the company, but here I am talking about Irish music! And the company is made mostly of Italian and French actors and musicians.
So how amazing it was when over recent rehearsal days the troupe began playing and incorporating into the play the famous Irish piece of music dating back to the 1930s – and one of the most popular pieces of the last century – called “Cooley’s Reel.”
Anyway, I made a video of the musicians rehearsing the piece (and I added into the video some of the first exploratory acrobatic workout we did with the ladder that is also part of the show – check it out, above). It was only one of a handful of the first efforts to play the reel, so there are a few minor moments off the rails, but it sure sounds great to me already! Bizarrely, for me, I have found myself playing the bongo a little bit like a Bodhran, rather than me doing my usual musical instrument, the guitar. My Seagull guitar is here played by Pacôme Puech – I didn’t have the confidence to get the rhythm right on the guitar – and on flute is Marine Lefèvre, and on fiddle is Marina Meinero.
The other bit of music that I was stunned to find one of the actors – Marine – wanted to incorporate somehow in the show was “Only Our Rivers Run Free,” which I also first heard through Christy Moore’s version in Planxty. It is one of the few traditional Irish songs that I occasionally have the guts to try to do myself on stage, as to me if feels like a great Bob Dylan protest song, and I try to ignore that I’m not Irish and I can attack it like a Dylan cover.
It was written in 1965 by Mickey McConnell, who was only 18 years old at the time. He went on to have a career as a journalist at the Irish Times, before decided in his 40s to return to a career in music. Extraordinary. The poetry of the song is astounding, and even more so when you realize it was written by an 18-year-old. I love that line, “are you gone like the snows of last winter?”
So that’s the update from my adventures at TAC Teatro. In the meantime, I hope the snows of winter go fast and I’ll be able to post some great thing about the completed show in April! In the meantime, we will be inviting the public to check out our progress in our “second stage” open-door event on 29 February, as the poster at the top of this post explains….
The first time I wrote about Michel Onfray was in December 2006, and the story was published by The Toronto Star – because the newspaper where I worked did not have either the courage, the savvy or the understanding to publish the story about one of France’s most popular, but controversial writers. Ultimately, I was overjoyed that the story made the lead, front-page, Insight section of the Star in its Sunday edition, which reached more than a million subscribers.
Even better, I had been worried – and told – that it was too long a story. But when finally after several rejections elsewhere, the Star accepted it, they asked me to expand it even more, and it ended up well over 2,000 words. I was then delighted when another editor at my own newspaper wrote me an email and said he had just read the article on a famous literary web site – I think it was based in Britain – that he subscribed to, which had picked up the story after the Star publication. He said he was a fan of Onfray, and he asked me why had I not offered it to our newspaper?!
The other day, I went to a projection of a film about Michel Onfray’s upbringing and home town, in a cinema not far from where I live. It not only brought me back to that period more than a decade ago, but it allowed me to meet Onfray again, as it was a special soirée with the film, a Q&A with Onfray, and then a party afterwards with wine and canapés. There must have been between 600 and 1,000 people present in the 7 Batignolles cinema, on the edge of Paris across from the new prefecture de Police, right next to Clichy.
The documentary, “Sur les chemins de mon enfance,” (“On the Paths of my Childhood”) went way beyond my expectations. It was made by a couple of Onfray’s friends – also accomplished filmmakers – and filmed in his home town of Chambois, in Normandy – where he still lives. I assumed in advance that it was a small-budget, maybe no-budget, production. But the simplicity with which it was done combined with the depth of the material made it a fabulously genuine document that shows a lot to us of the connection between the writer and his environment. How Onfray became Onfray.
Upon returning home from the screening, I discovered in my computer archives that after my own visit to Chambois, and Onfray’s personal home itself (which, interestingly, does not feature in the film), in 2006, I had written a nearly 10,000-word diary item of my impressions, which I wanted to use as a basis for the eventual article I would write. Re-reading that account after seeing the film, made me realize how valuable the film is in showing how his childhood environment made Onfray who he is – which, of course, is true of us all. I am very thankful to have seen the film as my own written account – and the memory of my visit – painted a picture of his world without seeing how that world was the stimulus of his existence.
The structure of the film is simple: Onfray takes a walk on a circuit around his town and the neighbouring couple of towns, starting at Point A and returning at the end of the film at Point A, but after walking a large circuitous route, the “chemin de la Garenne.”
Onfray draws our attention to how this microcosmic walk is actually representative of our whole existence, and how his garden is the center of the universe in that way. Of course he does not see his little world as the center of the world … except in how it IS the center of his own world and how it is representative of how the center of ALL of our worlds is also the center of the world. (Ornella, who attended with me, was struck by how similar were so many things in her own childhood upbringing in Sicily. When I pointed that out to Onfray, he said it had to do with the similarity of a rural upbringing everywhere, which we agreed was true.)
Like one of the other philosopher writers whose works have influenced me in my life, Colin Wilson, one of the original Angry Young Men of British letters, Onfray is both massively loathed and massive loved by the public in his country. As I said in the beginning, he was France’s best-selling philosopher in 2005-2006 or so. Now, I have no idea what his position is in terms of sales, but like Wilson as well, he is mighty prolific.
And his works and words and persona continue in France to elicit massive amounts of public attention – love him or hate him.
What is fabulous about this documentary is how we see the simple, normal, but at the same time exceptional man behind the public persona. And we see the people who were important in his life: His mother and his most influential elementary school teacher are not only both interviewed in the film, but they were both present at the screening last night, and present until after midnight at the party. Both are pushing 90 years old or beyond!
And this in itself is one of the most convincing aspects of Onfray that most people who dislike him probably have no idea about: What famous public persona philosopher would make his mom and school teacher of his childhood as welcome a part of his literary world?
When I first met him in 2006 and attended a dinner with him and some of the teachers of his Université Populaire at a meal at his home in Chamois, I remember at one point in the evening his parents coming in to say hello.
But, as it turns out, this aspect of Onfray’s life – connecting the real with the philosophical – is central to this thinking, and it was not entirely new to me – even if the film strengthens my understanding through the power of the images. One of the first books I read of his, was “La Puissance d’Exister,” or “The Strength to Exist,” in which he recounts how his life led to his philosophy. I find in my notes from 2006 this paragraph:
“I told him I had finished reading the Atheist Manifesto, and then had started reading the Strength to Exist. I told him that I was very surprised by the account of his youth, but said that I thought it worked very, very well to show where his philosophy came from, what inspired it. He said that he had done this in many of his books, in fact, starting from a personal point and moving to the philosophy. I then recalled the same had indeed been the case with “The Stomach of the Philosophers,” (his book “Le Ventre des Philosophes”). But no sooner had we said these few words than his parents entered the house, almost on cue to put an end to the discussion about his unhappy childhood.”
The documentary shows a man who is so deeply in touch with the natural world – the plants, gardens, streams and fields – of Chambois, that there is a sense coming through the film of this attachement to the earth that seems to feed his writing. Colin Wilson was often accused of existing ONLY in the world of books. But Onfray in this film makes it clear how in his life and world, nature came first, and the books came second. And the best writing is one that brings us back to the real world in which we live.
We meet also his childhood friend, Ghislain Gondouin, who we learn introduced him to many minor poets, and also to politics. In fact, this is one of the shocking, interesting parts of the documentary: We learn where so many of Onfray’s seminal influences came from, and they were not coming from institutions or café culture, but from humble, simple, local people like the barber, butcher, school teacher, farmer or every place and person imaginable.
There will be nothing in the film for critics of Onfray to like, or even for many professional journalists, as there is not a bad word said about him. But why should there be? As Onfray said in the Q&A after the film, “This was a film done amongst friends. I knew I could trust them.” And what’s wrong with that, when the result is such an important understanding of one of France’s most important modern writers and philosophers?
The film, by Alexandre Jonette et Stéphane Simon, had appeared on local Normandy television once, and it is also now accessible on Onfray’s web site MichelOnfray.com.
Last Friday, 6 December 2019, marked the exact anniversary date three years ago that I finished working in my job reporting about Formula One for The New York Times (based in Paris, but writing for both its international and U.S. editions). It was also the day that I was invited to attend the International Automobile Federation‘s prize giving ceremony press conference at the Carrousel du Louvre in Paris, where Lewis Hamilton and the Mercedes team received their trophy for winning the Formula One titles this year, along with the other F.I.A. champions from other series. So with that personal synchronicity in mind, and as a fan of the series, I attended the press conference, wondering how I would feel about my past life re-emerging on that timely date.
Before I say more about my feelings on that, I want to mention the other synchronicity – the next day, or rather, at around 1:38 AM that same night/next morning: Saturday, 7 December. That day is my birthday – which my brother, Scott, likes to quote Franklin D. Roosevelt on regarding the 7 December 1941 attack on Pearl Harbor as “a date which will live in infamy” – and in France’s Journal Officiel dated 7 December 2019 published around 1:38 AM that day, I found the decree that said I had become a French citizen. I had been fighting for that honor for 3 1/2 years – ie, since the Brexit referendum – and that it should fall on my birthday, and precisely three years after ending my career as an NYT journalist, was beautiful – and felt full of significance.
So the whole weekend was a blessed time. Despite having to battle my way through a French transport strike and rain, arriving at the Louvre drenched in both sweat and precipitation (from running through the rain for the last 40 minutes of the journey), the visit to the prize giving was an extraordinary moment. It was the first time I found myself involved in an F.I.A. press conference while no longer reporting for my newspaper. While I did decide that I would do a few tweets and write something about it on this blog – thereby making it a legitimate invitation – my biggest reason for attending was to see the world in which I had lived for more than two decades from my new point of view as a fan only.
I was delighted to meet up again with so many of my former paddock friends and colleagues: Journalists like Joe Saward, Jonathan Noble of Autosport, Frédéric Ferret of L’Equipe, Alain Pernot of Sport-Auto and other publications, and Andrea Cremonesi of La Gazzetta dello Sport, Tom Clarkson, who interviewed the drivers for the F.I.A., or Dieter Rencken, the South African journalist; team press officers like Bradley Lord of Mercedes (who has been press officer in teams that have now won the title 8 times (Renault and Mercedes), and his boss Toto Wolff. And of the drivers, there was Jean-Eric Vergne, the Formula E champion whom I have known since he was 15; Fernando Alonso; and, of course, Lewis Hamilton. And finally, Jean Todt, the president of the F.I.A., whom I first met as the Ferrari team director in 1997, who was also present as the organizer and key officiator of the event, of course.
I guess the word best to describe the experience would be: Flashback! But for the first time attending a press conference, I felt no pressure to produce any reports.
It was, though, very strange to hear the same kinds of questions being asked in the same way by the same people to the same people. It made me wonder how it feels for the drivers and teams to confront the same members of the media year after year, decade after decade. This, of course, is the same situation we find in any media circus: at the White House, the Olympic Games, soccer or even in coverage of show business, fashion or even science, no doubt.
But I thought about how surreal it must feel sometimes for the stars, such as Hamilton and Alonso, (and even for the not as successful drivers who must sit next to these stars and be ignored by the media while all the questions go to the stars, as happened in Alonso’s World Endurance Championship racing team, as the Spaniard received all the questions from the media). How surreal it must be to see the same inquisitors asking the same questions year after year.
And I am not here criticizing the work of my former colleagues or of the F.I.A., all of whom are doing a fabulous job. This is just the nature of the beast. But having been away from it all for so long, it felt strange to find myself plopped right back into the paradigm, as if time had stopped, and all that I had done for the last three years had never existed, and I was again reporting on Formula One and other car racing series.
It was a little like how it felt a few months ago when I visited The National Theatre in London where I had worked 42 years ago as a bartender, and I found the place unchanged. And I thought, had I stayed there and made a career of it, I would have been in a world unchanged, rather than having felt as if I have lived a full, adventurous life since then….
It certainly comes down to our passions: Probably most of the people who have and will spend their lives in Formula One – or at the National Theatre – cannot imagine a life they would love better than that, cannot imagine a life without that environment. I spent 33 years employed by the International Herald Tribune and its successor, the International New York Times. While I would have happily continued, I am even happier that I have been able to transform my life into something else since then – working in the TAC Teatro theater company (back to the past?!), playing my music, writing on other subjects, avoiding much travel, and making films – while remaining a fan of racing.
These observations are probably obvious to most people, and probably I had many of them to a slightly lesser degree while in the thick of reporting on Formula One. But during such an emotional couple of days, it was all perfectly timed: The world DOES change. If we choose to make it change. I no longer cover Formula One as I used to. I still watch every session and race, and I still love it. But I am no longer part of the circus – or perhaps never really was. I am now French, after 36 years living in this country, and while I may feel like that is a fabulous consecration, I suppose that in many ways I have been French for decades.
But no wonder that the thing I found most interesting about the press conference was hearing Hamilton and Alonso talking about their life-changes, about the different worlds they live in, not just Formula One. I managed to film a bit of that, and I am putting it up here on the blog – in my role as a journalist attending a Formula One press conference again….
We had a fabulous two weeks at TAC Teatro working daily on our next show, and then crowning the work period with a demonstration of the creative process to spectators at the Petit Théâtre in Asnières-sur-Seine. There we interspersed our personal work on the next show with explanations of how we went through the creative process to come up with the scores. The whole was led, of course, by Ornella Bonventre, the director of TAC Teatro, who was also the one behind leading us towards our individual creations.
It’s a process of work that I began wondering if I would ever come out of it with anything at all. But on the very first day, with the instructions Ornella gave us, I began to create my character and his place in the show. Can there be any surprise that the character comes from a circus background and so did some juggling, tight-rope walking and…reading of the beginning of T.S. Eliot’s “Four Quartets”?
Brad Spurgeon at TAC Teatro work demonstration
If you don’t understand a word of what I just explained there, well, you will have to come to the show when it is finished later next year. The other members of the company to perform in the work demonstration – who worked in the same manner as I just explained, but who came up with many different kinds of characters and scores – were Sara Baudry, Ioana Jarda, Marine Lefèvre, Julie Lossec, Marina Meinero, Pacôme Puech, and Janice Zadrozynski.
Marina was the only one not physically present, as she had a commitment in Italy. But she sent a video of her work, which I place below.
Ornella Bonventre speaking to the spectators during the TAC Teatro work demonstration
Keep posted for the next steps of the work-in-progress.
Why have I done so few posts on this blog in recent months? Let’s call it a TACtic. I have mentioned TAC Teatro a few times on this blog in the past three years, and especially my activities with TAC. But as of this summer, I have been devoting a lot more time to TAC, and am now a full member of the troupe. This is part of a decision to transform all my open mic experiences into something different, and, hopefully, bigger.
When I say bigger, I mean above all in terms of range of use of the body, voice, performance. I continue to play guitar and write every day – in fact, I am working on a very big writing project that I will finish at the end of the year – but I got to the point with the open mics that it felt as if I was repeating myself. Since stopping my travel to the Formula One races at the end of 2016, I had pretty much only Paris as my stage. And as big and beautiful and great is that stage, playing the same open mics with the same songs for the same spectators began to wear on me.
But my love of performing and my need to create are as strong as ever and always. Now, invited by Ornella Bonventre, the director of TAC Teatro, to involve myself even more than before – that is to say, with at least three meetings with the newly formed Paris troupe per week — I have found what feels like the answer to the stagnation at the open mics.
Of course, I am also continuing several other projects, such as the completing of my open mic documentary and the completing of my open mic memoir. But as far as performing goes, the idea is to build as much as possible on the physical theater of TAC Teatro. This is a kind of theater that appeals to me as it involves voice, music, physical action, acrobatics, puppetry, juggling, unicycling, text and just about every other thing you can imagine all wrapped into one.
Among its great proponents are groups like Odin Teatret of Denmark – I am also finishing the editing of a video interview with the founder of that theater, Eugenio Barba, that I conducted along with Ornella – and even the Théâtre du Soleil of Paris, and many others. TAC Teatro has existed for many years in Italy, and Ornella started up the Paris part two years ago. This year is the biggest step so far, with the recent gathering of several new performers – and you could say I am part of that wave.
In the first week of September five of us, under Ornella’s direction, put together a performance on the theme of borders, or “Frontières” that we performed on an outdoor stage at the city hall of Asnières-sur-Seine, where the French TAC is legally based in France. I am putting up on this blog page two videos connected to that event, one of which is a short video of the performance that Luca Papini, an Italian filmmaker in Paris, made.
The other video is of my own specific contribution to the writing of the performance, that did not make it into Luca’s film. All the performers created the first seeds of their own scenes, which we all then worked on together under Ornella’s directing, and so I was pleased to learn that Ornella had found in the filmed bits of our rehearsals and moments of creation, that there was a good, complete filming of my scene. (The exercise of filming the rehearsals was in order for the performers to have a more objective view of their work.) Ornella just finished preparing that segment as a video, which I post above.
TAC Rehearsal with music
We all used our personal preoccupations of the moment to create these seeds of our scenes, which were all also somehow connected to the theme of borders. My own section, called “Le Passeport,” as you will see, has to do with my personal battle with the concept of Brexit, which is affecting me to the point of madness as I wonder at how long I will be considered a legal citizen in France, as opposed to an illegal alien…. And I emphasize that word ALIEN.
So to sum up, again, my lack of presence on the blog in recent months has had nothing to do with an end to my creative projects, but rather, a reduction in the approach of the past – focusing almost entirely on open mics – and the beginning of a new approach, combining all of my interests, including playing music. I hope now I can shake myself out of the lack of contributions to the blog and back into a cycle of regular updates, but on a bigger theme!
This is the article my father wrote for the Globe and Mail about man landing on the moon – written 50 years ago today, published 50 years ago tomorrow. I, with my brother and sister and mother, were there with him at Cape Kennedy (as it was then called) and we watched the Apollo 11 spacecraft lift off toward the moon. We stayed at Cocoa Beach while he then flew off to Houston, and Mission Control, for the rest of the coverage.
At one point, one early evening, without a board, I asked my father to rent me one. He said no, but that I should go ask that man over there with a woman if I could use his, as he was not using it. I was unsure why he singled out this man, but I went and asked for his board. “No,” came the abrupt answer. Returning to tell my Dad, he asked me if I knew who the man was. Of course I did not, but he responded: “That’s Norman Mailer, Brad.” Mailer was attending the launch researching his eventual book, “Of a Fire on the Moon.”
If my father perhaps wanted to use me to meet Mailer, he did give me another unforgettable memory when while I was swimming in our hotel pool, he drew my attention to an elderly man entering a room above – the doors of the rooms faced the pool below, as in a motel – and I can still see the image of the man entering the room. “That’s Charles Lindbergh,” my father told me. And, of course, it was. Lindbergh, then only 67 years old, and the first man to fly across the Atlantic Ocean, was still around to attend the moon launch. An extraordinary century.
But many decades later, in our own century now, my father asked me what it was like to cover Formula One racing as a journalist. I told him that it was very interesting because it was about so many different things: The drivers were heroes risking their lives and doing exceptional feats of athletic prowess; they drove cars that were the highest expression of cutting edge technology, and expensive as hell; that it was a mix of extremely rapid technological development, glamour, money and danger with the drivers as stars. His response to me was: “It sounds just like covering the space program in the 1960s.” That is when I realised that no matter how hard we try to escape our origins, our family background, our parents’ goals for us, well, we somehow end up back at the same place….