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Theatre ► Improvisation ► Performance
Living Scene | Teaching
OF THE DOUBLE VIRTUE OF THE PRACTICE OF THEATRE,
TOOL OF SELF-KNOWLEDGE AND INSTRUMENT OF APPEASEMENT TOWARDS 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.
Playful lessons to learn how to play with one's multiple identities
Living Scene | Benefits
My teaching practice
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.
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.
Below is an interview conducted for studio84.fr by Guillermo Blanco, videographer and trainer, who also takes my classes. It gives me the opportunity to explain in person some aspects of my posture towards theatre, as well as the bases of my teaching.
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.
- 2008/2020 CLAJE (Centre d'animation - Pôle Villot (1 year) then Pôle Bercy - Paris XIIe) / Teacher
- 2001/2017 NO-NAIME Cie (Maisons-Laffitte) / Intervening theatre director
- 2006/2012 IMPROVISATION AND STAGE RESEARCH WORKSHOP (Montreuil) / Teacher
- 2000/2002 EMP HOFFER-LAUNAY ( Theatre workshop for handicapped children - Paris XVIIe) / Co-host
- 1995/2002 Cie DU CHAT (Le Pecq) / Teacher - director
- 1999/2000 SCHOOL OF PROVIDENCE (Paris XVIe) / Theater 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 DOUBLE LEAFED OPEN TORQUE by Dario Fo (Directed by Marie-Claire Thooris)
- 2019 MY LIFE WITH KURT WEILL - MONKFISH LENYA (The Channel Scene - Created by Marina Boehler)
- 2015/2016 I HAD THE COURAGE TO BE ME. adapted from "Sans toi papa" by Sophie Rigal Goulard (Interpretation / Design: Anne-Marie Richard)
- 2014 NOTHING BACK performance by Mélanie Legrand (mjc Paris-Mercœur)
- 2010/2018 CRL10 (Espace Jemmapes - Interventions during the singing course varieties and lyrical of Any Tingay and then Marina Boehler).
- 2003 THE ANGEL IS THEÀTHE GOLD IS performance designed for Angéla Laurier, contortionist and 3 musicians (Centre Régional des Arts du Cirque de Cherbourg)
INTERNSHIPS and INTERVENTIONS
- 2011/2020 SCÈNE VIVANTE - Internships : "Summer Body", "Totally naked", "From the Truth of Men", "Everything must go", "Look the other way.", "Performance", "The scream, the text and the physical impulse.", "Mixing of genres", "Improvise freely", "Inventing an identity", "Play naked." "Scare« , « Freaks "at the drop of a hat." / Teacher
- 2020 UNIVERSITY OF LILLE (Performing Arts - Ariane Martinez's class - Internship "The patient's school" / Artist speaking in two sessions
- 2017/2020 CLAJE (Centre d'animation - Pôle Bercy - Paris XIIth - Internships : "Ascend the Night of the Kings in 3 days", "Think what you say." "The energy to improvise." "Animal Inspirations", "Say the text", "Play True") / Teacher
- 2018 MPAA Broussais (Maison des Pratiques Artistiques Amateurs - Internship "Imaginary Rituals") / Intervening artist
- 2001/2017 NO-NAIME Cie (Maisons-Laffitte - Internships : "Free improvisation", "Creating Characters", "Creation of clowns" ) / Acting theatre director
- 2016 UNIVERSITY OF GRENOBLE (Project CHUI - Performing Arts - Ariane Martinez's class) / Guest artist
- 2015 THE GENERATOR (Gentilly - Internship "Iconicum")
- 2015 THE BALL (Intervention at the Stéphane Mallarmé College - Paris XVIIe) / Guest artist
- 2014 ÉROSPHÈRE (Internship "Outrance of desire" - Micadanses - Paris IVe) / Guest artist
- 2011 PEOPLE'S THEATRE Maurice Pottecher (Bussang - FNCTA - Internship "Exquisite corpse on the tale") / Author-director speaker
- 2009 ON NICE SUNDAYS (Montreuil - Paris - Bar le Yono - Collective improvisation "Something musty") / Teacher
- 2005 LINO VENTURA SPACE (Festival "Créations d'Automne" - Torcy - direction: Mathieu Bourgasser - Internship "The undivided and the particular") / Guest artist
- 1997/1998 SPRING THEATRE (Internship Theatre for teenagers – Fontenay with roses) / Co-host
2020 ESAA (Ecole Supérieure d'Art d'Avignon) / Performative videoconference " Who are you Mister David Noir? " with the students of the school, at the invitation of Nicolas Gruppo, artist and film and performance teacher
STAGING | GAME DIRECTION
- 2019/2020 Several plays by Georges Courteline, (Not shown - Interruption causes containment COVID 19 - CLAJE )
- 2019 Phaedra Lab (Research laboratory around Phèdre de Racine with Eléonore Briganti - MC2 Grenoble), The look of the cat by Alejandro Jornet (No-Naime Cie - Ancienne Eglise de Maisons-Laffitte / MPAA Broussais)
- 2018/2019 Classical and contemporary scenes, directory scenes (CLAJE - Théâtre Montgallet - Paris XIIe)
- 2017/2018 Peace Aristophanes (CLAJE - Théâtre Montgallet - Paris XIIe)
- 2016/2017 Grand-Guignolseveral 1-act pieces 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 pieces 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 The Suicide of Nikolai Erdman, Yakich and Poupatchée by Hanokh Levin (CLAJE - Théâtre Montgallet - Paris XIIe)
- 2013 Divine Me Mr You creation of the No-Naime Cie from improvisations (Maisons-Laffitte / Le Mesnil - Le -Roi)
- 2012/2013 Classical and contemporary scenes, directory scenes (CLAJE - Théâtre Montgallet - Paris XIIe)
- 2011/2012 So much space between our kisses by Joël Dragutin, Like broken glass. of Agnes Marietta (Montages of texts - CLAJE - Théâtre Montgallet - Paris XIIe)
- 2010/2011 Lysistrata Aristophanes, The tears of the blind man by René de Obaldia (CLAJE - Théâtre Montgallet - Paris XIIe)
- 2009/2010 The Council of Love by Oskar Panizza (No-Naime Cie - Maisons-Laffitte / CLAJE - Théâtre Montgallet - Paris XIIe)
- 2009 Tres Concert by Miguel- Ange (Théâtre de Saint-Maur), Haunted by 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 Monsters & men creation of the No Naime Cie - Text editing (Salle Malesherbes de Maisons-Laffitte)
- 2005 Kamédur (X) cretion of Nadège Prugnard (Théâtre de la Digue - Toulouse / La Comédie - Scène Nationale de Clermont-Ferrand)
- 2002/2004 Don Juan returns from war by Ödön von Horváth, Operetta by Witold Gombrowicz (No-Naime Cie - Salle Malesherbes - Maisons-Laffitte / Centre Louis Jouvet - Bonnières-sur-Seine)
- 1997/2000 The terrible parents de Jean Cocteau, The lesson by Eugene Ionesco, Women's Assembly by Robert Merle, The cat that goes away by itself after Rudyard Kipling (Cie du Chat - Théâtre Jean Vilar - Marly Le Roi)
- 1995 Caroline Musical show by Miguel-Ange Sarmiento on songs by Vincent Scotto (Aktéon Théâtre / Théâtre des 2 ânes - Paris)
2011 EDENRED-FRANCE (Malakoff) / In-house theatre event preparation
2005 MUTUAL SAVINGS BANK / In-house circus event preparation