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Living Scene Classes | Frequently Asked Questions | Visual © David Noir

Live Scene | Frequently Asked Questions

You will find here the answers to the most common questions you might ask yourself before registering for a workshop or an improvisation workshop Scène Vivante


Formation Scène Vivante | David Noir | Classes, workshops, coaching | Theatre | Improvisation Method | Performance | Public Speaking | Visual © David Noir

Preamble | Learning and practicing theatre differently

The pedagogical principles behind this training program have been developed throughout a process that continues to grow thanks to the participation of all the practitioners who make up the courses, internships and workshops.

The issue of representation is addressed as a whole, whether it concerns professional or amateur actors or any person who, in their work or private life, questions their own image and what they can do about it to improve their daily life or their public services. Concrete solutions that have been tried and tested many times are there to help anyone who feels the need to express themselves in front of others or simply questions the processes of representation and theatricality in our society.

The teaching provided by Scène Vivante does not claim to be the fruit of an exhaustive synthesis of the reflections that have been carried out throughout the history of the stage in terms of teaching, far from it. It is intended to be a practical tool for exchange and creation, offering answers to everyone's problems through discovery, support and stage work.

Practical information

If you do not find the answer to your questions or if you wish to obtain further information after having browsed through this page and all the pages dedicated to Live Scene accessible via the links in the header menu, you can contact me via the contact links provided.

Consult the GTC

Playing the game like a child thinks he's Zorro.

Living Scene | Benefits

It's alive!

Finding the right formula
My teaching practice

Throughout my career, I don't think I've ever met anyone who was unable to play, even the slightest bit, to be someone else once he or she understood that it wasn't a question of pretending but of being oneself.

Learn and practice theatre differently

Current techniques adapted to the diversity of demands. An attentive look at the plurality of personalities.



Scène Vivante, a programme as full as an egg

A rich and nutritious formation like a yolk full of elements for the scenic development of the individual guided towards his autonomy

Living Scene Course | Practical Information | Location and Agenda | Visual © David Noir
Living Scene Course | Practical Information | Location and Agenda | Visual © David Noir

One of Scène Vivante's objectives is to make nature fully visible to its students and trainees, both personal and universal with their own tools: personal to affirm the development of its own identity, even its singularity, universal in order to better understand how easily one can get along with others, with others, without sacrificing one's intellectual, emotional and physical integrity.

What does Live Scene offer?

Scène Vivante is the branch of David Noir Production dedicated to pedagogy. It takes the form of training in stage practice and acting, offering courses, coaching, internships and workshops in the spirit and philosophy that animate the pages of this site.

Is it open to everyone?

Living Scene teaching, whether collective or individual, is based on original methods that adapt to different personalities without requiring them to have had prior artistic training.

Why internships, courses and workshops?

To express and give shape to this need to give form to this imbroglio of movements that incessantly animate us as human beings.

Courses and workshops are therefore physical and temporal spaces designed to encourage the expression of these needs on a stage; that is to say, in the presence of others, in front of others, or rather in their midst.

Are there therapeutic aspects to the teaching?

Probably yes; so much the better if it is and in the end it doesn't matter. Dressing his wounds and pains does not harm artistic creation, so why would one reject it in the name of a supposed "purity" of the act.

The others: partners and public.

Why this need to have witnesses of his existence other than his spouse, family, friends?

Because the only good option for the spectacular is not lying, but demonstrating what we are and how we feel. And, as mentioned above, it is undeniable, any moral notion aside, that the "classic" social relationship forces people to lie, or at least to say nothing.

The spectacular in question here is not the devil described by Guy Debord in "La société du spectacle". Quite the contrary. Far from being generated for the benefit of the deviation of communication between humans and power games, it is a vital need, intrinsic to the human; immanent: that of representing oneself and the things and beings around us to better understand the world and the worlds, thus modeled.

How do the courses, the internships, the workshops work?

According to the principle of a community of minds, of unselected, unsorted individuals. They're open to anyone who wants to come. No need to be an actor or an actress to evolve and direct oneself there. You play spontaneously and sometimes in a more prepared way, with all sorts of materials, starting of course with yourself, in all sorts of situations. The training times are long and collective, in order to allow a good progressive immersion for any newcomer or newcomer and to ensure a long warm-up for everyone before starting exercises and interpretations.

What you won't find

  • A show in the traditional sense of the term, in which roles and scores are definitively assigned.
  • A linear method aimed at making you a "bankable" actor or actress on the casting market. But nothing prevents it. 

I am writing this so that you may know that I have nothing to pass on in the order of what is consumed. I only know how to react to the presence of the other; sometimes to his absence as well. One teaches well only what one ignores and discovers while doing it. The rest is a morbid heap of culture outside this present time, which alone counts in the eyes of the living. People fuck, sleep, eat and die; what could be more natural! This is life; these are our lives. They also work, produce thoughts, feelings, materials and sometimes... they play!

What are they playing at?

At this stage, ambition should not be confused with pretension. For while some people enjoy inventing and implementing concepts and forms, a good majority are content to simulate ease, well-being, freedom, intellectual development, creative and work capacities... which is not the case with the "new" generation of artists. playbut... act.

These two notions are often deliberately confused, but there is a major difference between them, because "playing" is not "playing" at all.

"Playing" - in a mature sense which, although it is indeed derived from childhood, is not only a child's game, for which playing, as in the case of young animals, is intended to socialize and train the balance of power and desire - "Playing", therefore, for an adult inspired by childhood, is actually producing and not (telling himself) what he is producing.

But produce what?

Meaningful and at best, sound meaning of things and life.

In other words, his vision of the world in words, movements, actions, sounds, images, speeches, exchanges... the list of tools available to the stage act is infinite and exponential.

A fundamental axis: the need to be true in order to produce art that is worthwhile.

To be true, what is that?

First of all: get to know each other well.

Then, try to find the thread within ourselves, which, once stretched like a sensitive string, resonates vibrations that make our vital impulse for ourselves and create a mental image of ourselves for others.

Before this can be done, it must be found intimately, stripped of its knots, foreign bodies and shackles, and finally stretched out so that it sounds clear and easily identifiable to its host. Each person's own truth is a wave. It is necessary to determine and isolate the "A" from it. As with any instrument, one must finally tune before playing and know one's scales. This is what the "training" aspect of a workshop is for.

It is true, less mathematically than in music, but nevertheless efficiently, that the scenic individual can, through hard work and observation, come to understand the range of his own scales and the register of his singing.

David Noir, who's that? May I see who I'm dealing with?

Yes, by clicking here

as an epilogue

Humanity and play

Sa Since one's own truth is valid only for oneself so as not to be at war with the whole world in everyday life, one must associate oneself with others through exchange. Diplomacy is a terrible thing for the ego because it forces it to put its raw truth in reserve, but also to pour into the unspoken and the lie by omission. "Do not harm me and I will not harm you"; "Accept me and I will consider you".

Playing is, for a time, to put aside this tacit pact between humans, to allow the non-socialized part of the person to express himself under control and in a framework that allows it.

Beyond the dubious compromise of daily diplomacy, there is therefore only forgiveness, and a priori unconditional, which does not engender war or the perverse effects of trade and barter inherent in "real life". But such an open attitude also frequently engenders a disturbing and possibly harmful collateral effect: submission to all kinds of authorities. Paradox of non-violence, this behaviour is also not compatible with the emergence of the theatrical animal which also needs to feed on the energy of our hatreds and other morbid impulses. In short, the need for everything that makes a human being, both good and fearsome, expressed, one might say, in vitro.

In the same way, love, that bond between beings which suffers from being too thoughtful to be lived well, must rediscover the selfless "purity" which propels the states of heart of childhood; states which in the early years of life are not yet moved by hypocritically disguised, but at least authentically expressed, interest. Acts are then guided only by needs. As peremptory, capricious and sometimes cruel as they may seem to us as we grow up, they will always be worth more than self-interested calculation, forged by the mistrust of others and bound to our existence by fears - in any case, at least on a platter.

The stage, the scene or the simple rehearsal space is indeed, in the end - it is good to keep this in mind during the work - the place of the least dangerous social relationship in the world, where the stakes are virtual and where it is least necessary to be afraid, once integrated that the other's gaze is not a gun.

The only love worthy of raising his art of playing seems to be a love straight out of an immediate and uncalculated childhood. It is pure need and only this need is raw and original love. This is not the case with desire, much more fluctuating and fleeting, on which it is not wise to base his expressiveness. So we also find, inevitably, unpleasant things in the jumble of what constitutes us and which we must try to say.

That is why, under pain of sounding terribly wrong, the scene should never want to be more virtuous than life.