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Theatre ► Improvisation ► Performance

Iconicum | Dreamlike improvisation workshop | The Generator | Photo © David Noir
Iconicum | Dreamlike improvisation workshop | The Generator | Photo © David Noir

Living Scene | Teaching

THE DOUBLE VIRTUE OF THE PRACTICE OF THEATRE, A
TOOL FOR SELF-KNOWLEDGE AND AN INSTRUMENT OF APPEASEMENT WITH REGARD TO THE FEAR OF OTHERS

I have been teaching theatre and more generally the performing arts on a regular basis since 1998.

My practice has led me, in contact with varied groups and necessarily specific individuals, not to apply an identical scheme to all, but to constantly invent exercises, set up methods and approaches adapted to each particular context.

In essence, I could say today that I have discovered during my years of teaching practice how human beings, whatever their origin, culture and background, have access to the expression of the moods and feelings that characterize our species. All individuals can express their multiple identities in a powerful and authentic way through theatre, provided they are properly guided out of clichés and the temptation to "manufacture" false feelings.

Playing is always playing real, even to embody the characters that may seem the furthest from reality. The whole point of representation is there: to give life to the most whimsical parts, to the strangest aspects of reality that make up our psyche and give rise to the actions that result from it.

Theatre is therefore quite simply "being" under the gaze of the other, through a skilful blend of spontaneity, technique of expression, vital energy and sincere address to one's contemporaries.

All this baggage, naturally, can be learned, practiced and experienced like any "sport" of the mind and body. The basic tools to achieve this are improvisation, text work, and the use of the body and emotions, all along a path of individual development, the duration of which varies from person to person.

Representing and representing oneself is a typically human skill that runs through all the arts, but also through daily life, as everyone knows. If one accepts to be led to reduce one's resistance, to recognize oneself in the portrait of oneself which always ends up revealing itself in one's own eyes, fascination always accompanies the discovery of the masks that social life imposes on us to wear.

From then on, the animal mechanisms that animate us are once again in control, and entertainment in its finest, most childlike form is reborn.

Human intelligence is never as brilliant as when it enjoys the fruits it produces in full awareness of its capacities. Humour and creativity are then inseparable. They bring to the sublime and joy of being alive, once the vain character of all existence has been well assimilated. Humility acquired through gentleness and not humiliation, clearly appears as one of the keys to peace between beings. Thus forged, it overcomes the lock of hearts and unlocks the lock of interest in the famous "difference" of the other. The very fashionable "tolerance" also becomes more than a vain word, suddenly being confronted with the obvious equivalence of all human beings among themselves.

Theatre, like all the arts, reveals to the person who practises it, how much life is worth living, starting with his or her own. Much better than an often illusory dream of success, its intimate frequentation makes one's own potentialities of existence identifiable and concrete, since on the space of a stage, everything exists, everything is admitted, everything is possible. In this sense, conducted with care and attention, the experience of the stage is a vector of a better self-esteem whatever the age and ambition. It can become, in the hand of those who wish to understand its subtle qualities, more than a simple distraction or a balm for the pains of our world, a peaceful weapon to apprehend it and make it better.

David Noir

Playful classes to learn how to play with one's multiple identities

Living Scene | Benefits

It's alive!

Finding the right formula
My teaching practice

Since my first direction in 1986, I have had the opportunity on many occasions to stage plays at the request of companies, performers or various amateur or professional actor's training courses, apart from my own creations and texts. 

Free improvisation, what is it?

Starting from almost "nothing"; from the simple fact of being, thinking, observing, hearing, reacting, the practice of free improvisation allows one to extend one's playful potential to the totality of one's creativity. The techniques used are accessible to everyone, whatever their level of knowledge of the art of the stage.

Contact

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Video interview
Below, an interview conducted for studio84.fr by Guillermo Blanco, videographer and trainer, who also follows my classes. It gives me the opportunity to make some aspects of my posture towards theatre and the bases of my teaching understood in person.
David Noir's career as a teacher-director

Since my first directing in 1986, I have had the opportunity on many occasions to stage plays at the request of companies, performers or various amateur or professional actor's training courses outside of my own creations and texts. At the same time, I have had to set up or direct several work or research groups, coach actors and singers, and respond to offers or requests from companies in the context of events. This career as an actor and director as a teacher has been an extremely rich and diverse experience for me, perfectly complementary to my personal preoccupations with stage performance and interpretation. Here are the details below.

PEDAGOGY

  • 2008/2020 CLAJE (Centre d'animation - Pôle Villot (1 year) then Pôle Bercy - Paris XIIe) / Teacher
  • 2001/2017 NO-NAIME Cie (Maisons-Laffitte) / Acting theatre director
  • 2006/2012 IMPROVISATION AND SCENICAL RESEARCH WORKSHOP (Montreuil) / Teacher
  • 2000/2002 EMP HOFFER-LAUNAY ( Theatre workshop for disabled children - Paris XVIIth) / Co-animator
  • 1995/2002 Cie DU CHAT (Le Pecq) / Teacher - director
  • 1999/2000 PROVIDENCE SCHOOL (Paris XVIth) / Theatre speaker

COACHING (individual and collective)

Accompaniment of professional and amateur singers and actors since 2003

  • 2016/2020 SIXTH SOLO by Serge Valletti (Interpretation: Michel Landré)
  • 2019 TWO-BATTENT OPEN CUP by Dario Fo (Directed by Marie-Claire Thooris)
  • 2019 MY LIFE WITH KURT WEILL - LOTTE LENYA (The Canal Stage - Created by Marina Boehler)
  • 2015/2016 J'AI EU LE COURAGE D'ÊTRE MOI adapted from "Sans toi papa" by Sophie Rigal Goulard (Interpretation / Design: Anne-Marie Richard)
  • 2014 NOTHING LAST performance by Mélanie Legrand (mjc Paris-Mercœur)
  • 2010/2018 CRL10 (Espace Jemmapes - Interventions during the variety and lyrical singing lessons of Any Tingay and Marina Boehler)
  • 2003 L'ANGE EST, L'OR Y EST performance conceived for Angéla Laurier, contortionist and 3 musicians (Centre Régional des Arts du Cirque de Cherbourg)

INTERNSHIPS and INTERVENTIONS

  • 2017/2020 CLAJE (Centre d'animation - Pôle Bercy - Paris XIIe - Courses: " Monter La nuit des rois en 3 jours ", " Penser ce qu'on dit ", " L'énergie d'improviser ", "Animal Inspirations"(e.g., "Say the lines", "Play it right") / Teacher
  • 2011/2020 SCÈNE VIVANTE - Workshops : " Corps d'été ", " Totalement nu ", " De la vérité des hommes ", " Tout doit disparaître ", " Regarder ailleurs ", " Performances ", " Le cri, le texte et la pulsion physique ", " Mélange des genres ", " Improviser librement ", " S'inventer une identité ", " Jouer nu.e ", " Epouvante " , " Freaks à l'arrache " / Teacher
  • 2020 UNIVERSITÉ DE LILLE (Performing Arts - Ariane Martinez's course - "The patient's school" workshop) / Artist
  • 2018 MPAA Broussais (Maison des Pratiques Artistiques Amateurs - Training course) "Imaginary Rituals") / Intervening artist
  • 2001/2017 NO-NAIME Cie (Maisons-Laffitte - Internships : "Free improvisation"" Creation of characters ", "Creation of clowns" ) / Acting theatre director
  • 2016 UNIVERSITÉ DE GRENOBLE (Project CHUI - Performing Arts - Ariane Martinez's class) / Artist
  • 2015 THE GENERATOR (Gentilly - "Iconicum" internship)
  • 2015 LE BAL (Lecture at the Stéphane Mallarmé College - Paris XVIIth) / Artist
  • 2014 ÉROSPHÈRE (Internship "Outrance of desire" - Micadanses - Paris IVe) / Artist
  • 2011 THÉÂTRE DU PEUPLE Maurice Pottecher (Bussang - FNCTA - Stage " Cadavre exquis sur le conte ") / Author-director speaker
  • 2009 LES BEAUX DIMANCHES (Montreuil - Paris - Bar le Yono - Collective improvisation "Something musty") / Teacher
  • 2005 ESPACE LINO VENTURA (Festival "Créations d'Automne" - Torcy - direction : Mathieu Bourgasser - Stage "The undivided and the particular") / Intervening artist
  • 1997/1998 SOURCES THEATRE (Internship Theatre for teenagers - Fontenay aux roses) / Co-host

STAGING | GAME DIRECTION

  • 2019/2020 Several plays by Georges Courteline, (Not shown - Interruption causes containment COVID 19 - CLAJE )
  • 2019 Labo Phèdre (Research laboratory around Phèdre de Racine with Eléonore Briganti - MC2 Grenoble), Le regard du chat by Alejandro Jornet (No-Naime Cie - Ancienne Eglise de Maisons-Laffitte / MPAA Broussais)
  • 2018/2019 Classical and contemporary scenes, scenes from the repertoire (CLAJE - Théâtre Montgallet - Paris XIIe)
  • 2017/2018 La Paix d'Aristophane (CLAJE - Théâtre Montgallet - Paris XIIe)
  • 2016/2017 Grand-Guignol, several one-act plays from this repertoire (CLAJE - Théâtre Montgallet - Paris XIIe)
  • 2015/2016 Montage around the work of Noëlle Renaude (CLAJE - Théâtre Montgallet - Paris XIIe)
  • 2014/2015 5 short plays by Eugène Labiche (CLAJE - Théâtre Montgallet - Paris XIIe)
  • 2014 The Night of the Rats after "The Night of the Kings" by W. Shakespeare (No-Naime Cie - Ancienne Eglise de Maisons-Laffitte)
  • 2013/2014 Le Suicidé by Nikolaï Erdman, Yakich and Poupatchée by Hanokh Levin (CLAJE - Théâtre Montgallet - Paris XIIe)
  • 2013 Divine Moi Mr You creation of the No-Naime Cie from improvisations (Maisons-Laffitte / Le Mesnil - Le -Roi)
  • 2012/2013 Classical and contemporary scenes, repertoire scenes (CLAJE - Théâtre Montgallet - Paris XIIe)
  • 2011/2012 So much space between our kisses by Joël Dragutin, Comme dans du verre brisé by Agnès Marietta (Montages de textes - CLAJE - Théâtre Montgallet - Paris XIIe)
  • 2010/2011 Lysistrata by Aristophanes, Les larmes de l'aveugle by René de Obaldia (CLAJE - Théâtre Montgallet - Paris XIIe)
  • 2009/2010 Le concile d'amour by Oskar Panizza (No-Naime Cie - Maisons-Laffitte / CLAJE - Théâtre Montgallet - Paris XIIe)
  • 2009 Tres Concert de Miguel- Ange (Théâtre de Saint-Maur), Hantés de Sophie Renauld (No Naime Cie - Ancienne Eglise de Maisons-Laffitte)
  • 2008 The house of Bernarda Alba by Federico Garcia Lorca (No-Naime Cie - Old Church of Maisons-Laffitte)
  • 2007 Des monstres & des hommes creation of the No Naime Cie - Text editing (Salle Malesherbes de Maisons-Laffitte)
  • 2005 Kamédur (X) creation by Nadège Prugnard (Théâtre de la Digue - Toulouse / La Comédie - Scène Nationale de Clermont-Ferrand)
  • 2002/2004 Don Juan returns from the war by Ödön von Horváth, Operetta by Witold Gombrowicz (No-Naime Cie - Malesherbes Room - Maisons-Laffitte / Centre Louis Jouvet - Bonnières-sur-Seine)
  • 1997/2000 Les parents terribles by Jean Cocteau, La leçon de Eugène Ionesco, L'assemblée des femmes by Robert Merle, Le chat qui s'en va tout seul after Rudyard Kipling (Cie du Chat - Théâtre Jean Vilar - Marly Le Roi)
  • 1995 Caroline Caroline Musical show by Miguel-Ange Sarmiento on songs by Vincent Scotto (Aktéon Théâtre / Théâtre des 2 ânes - Paris)

CORPORATE THEATRE

  • 2011 EDENRED-FRANCE (Malakoff) / In-house theatre event preparation

  • 2005 CAISSE D'ÉPARGNE / Circus event preparation in-house

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