Individual and group lessons | Game management | Courses and workshops

Theatre ► Improvisation ► Performance

Scène Vivante | Coaching mise en scène | Cies

Direction of the play | Advice on staging | External viewpoint | Help with development

Coaching companies

This is the case for an autonomous troupe or company that creates the staging of its show itself out of a desire or concern for economy and feels the need to have recourse to a director's eye and advice from time to time or at regular intervals during rehearsals.

For an experienced company, the figure of the director is far from being indispensable.

Moreover, it is good to remember that we should not pay to perform but rather legitimise the opposite, including in the case of amateur companies which, although their members are not full-time performers, nevertheless produce shows which, like any other work, have a market value when they aim to be exported outside the walls where they were born.

Clarification of the nature of the work

It is therefore not a question of creating productions. These services therefore do not involve researching texts, casting or designing a project.

However, they can be useful and sufficient for a group of experienced interpreters, whether amateur or professional, who, although they know where they want to go, may have doubts about a direction they have taken, may want a critical analysis of the work they have done, or may wish to bring in a different vision.

Such sessions can also consist of a few rehearsals designed to strengthen the actors' performance through new technical input in a situation.

You can pay for your coaching session here

80€ / hour *

* 65€ / hour from 6 hours planned

Staged coaching

1 hour session

Price: €80.00

Download the GTC in PDF format

Personal note

Why did I decide not to direct for other companies?

Having worked on the direction of shows of a different nature than my own for 22 years in parallel with my creative activities, I feel today, in 2020, the imperative need to devote myself as much as possible to my creations alone.

However, guiding a group over a relatively long period of time and staging it with the aim of putting on a show requires a great deal of energy and time that goes far beyond the services provided in the theatre with the performers.

The second reason for this decision is that it has become painful and oppressive for me to give birth to actual projects of theater and therefore of a style and nature that have become too far removed from what really concerns me, namely a certain type of representation that can be described as performative.

This great gap is now experienced by me as a painful tug-of-war between two poles that prove to be antagonistic. As much as I am still passionate about the techniques of stage thinking and the work of the actor's physical embodiment, the outcome of the theatre itself as a represented play seems to me to be uninteresting and even boring.

It's true that this is not a new thing as far as I'm concerned, having strongly attacked the theatre through my own projects in the past. But what was then undoubtedly a surge of love for a form that had gradually disappointed me before ending up arousing a total aversion, has today become a banal disinterest in this old, moribund and often so devoid of truth thing that is brought to the stage.

What remains powerfully anchored in me, however, is a fascination for the mechanism of all this and a childlike tenderness for the actors and actresses and the desire that drives them. This is what these pages devoted to pedagogy, line after line, bear witness to.