Ways of the dialalogue
I have chosen to borrow them. I know they are infinitely necessary and fruitful. I principally transmit them through my job, my creations, and my civic involvements.
« So, who begins? Who gets in? People? Words? Materials? Shapes? Colours? The audience ? »
C. Garcia – Douze règlements de contes pour adultes cahier 1.
House of the dialogue
I hear my mother telling me that when I was a baby I suddenly refused to eat the very day she had to go back to work, and thus to leave some people to look after me. But they did not talk to me. As she was a sensitive and wise woman, and also as a Mediterranean woman, she had quickly understood that it was what she called a « vital need of speech ».
I remember of one of my teachers in the Theatre Academy, he reminded us this sentence from the Petit Organon by Brecht: « In theatre, the smallest unity is two. From me to me, there is nothing ».
What I want in theatre, in my job, through pluridisciplinarity and interdisciplinary is to find the ways of the dialogue.
I am the dweller of a place of infinite dialogue. I create the dialogue by furthering the conditions of the dialogue with my pupils and students. My citizen involvements naturally serve this place for this emancipated and emancipatory dialogue, beyond any assignation.
Conférence lecture
Experience: directing a theatre company Theatre made up of episodes bridge amateur theatre – professional theatre
Concrete, direct, physical dialogue, that I seize round the waist, that is what theatre dialogue is, delicate and implicit also, not obvious, unsuspected, that offers an infinity of micro-dialogues just like a veined leave. Those chemical and alchemical dialogues, with their infinity of bounces, make me believe in theatre, even out of its representation.
Théâtre à Tiroirs
Theatre made up of episodes immediately evokes, by this metaphor of a story’s compartments that you can choose, a multifaceted, plural, dynamic and free theatre. The « black box » of theatre is always a mystery and a secret, waiting speech between silence and revelation, just like this Vénus de Milo created by Salvatore Dali, Vénus aux tiroirs, bent toward its own body, just as if it was listening to a dialogue between its construction and its destruction.
The productions
Young Public and Every Public, artistic place open to every generation
Multiple spaces, various populations
Will to promote theatre in an intercultural dialogue.
The ways of the dialogue are numerous. Dialogue needs implication and interweaving and its status is complex. One can look for this dialogue into the oral speech, but also into silent speech. I love looking for something without following traditional ways, and I am interested in every speaker.
Finally, I love questioning what people generally call dialogue.
I compare it to a building with wholes, a roof, windows and living rooms. I tell to the actors that there is no customs and no codes: one may enter by the door, not the window, etc…
Theatre destroys all those codes. It is this house, which has to be built that I am interested in, as a stage director.
Experience with handicapped actors in 1998 (nomination for the competition of the innovation and performance of the territorial executives FTP Paris)
The War Plays by Edward Bond
