We wrongly bring into conflict the Theatre of text and the Theatre of body. The text is literature, but not the human voice that twists it. The word is a movement, by the grip of breath which precedes it and by the expiration which presses it to come out. I like reminding myself that in the Elizabethan theatre, it was the intensity of the verb, the extraordinary characters of the characters and the physical commitment of the actors that galvanised the crowd.
Academicism, radical postures, stereotypical game codes, character composition, false lyricism, disembodiment, gossip, sentimentality... All these stumbling blocks, sometimes contradictory, are nevertheless a matter of the same consensus, almost unanimously adopted on our scenes: the actor, today, wants to speak as in life or "as in the theatre", or as a T.V presenter or as a cartoon dubber, acting-out the sense and explaining its text - or its sub-text…
Since Antonin Artaud and his "emotional athleticism", since Carmelo Bene and his "acting machine", few directors have been interested in the actor as a “musical potentiality ", sharp and dissonant, vibrating and detached; from trivial to incantatory.
In 2002, I gathered a group of comedians from my generation which saw the birth of the Company of the Dramaticules (Les Dramaticules). From then on, I wished to question the notions of performance and representation by holding a critical perspective of the play. I like the fact that in the same show, there is a cohabitation of live tradition and experiment, grandiloquence and the most trivial realism, satiric mockery and vibrating tribute, classic tragedy and hoax. My choices of repertoire and creation are always guided by the desire to open up the genres, knock down codes and dispute the notion of format. Questions of sacred and politics cross all my shows. The man crushed by his devils is my favourite hero.
Jérémie Le Louët
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