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© Cie des Dramaticules

DON QUIXOTE

according to Miguel de Cervantès

Created in June 2016

Fifteen years ago, I gathered a group of comedians from my generation, which lead to the birth of Les Dramaticules. Together, we invented a role acting grammar. Working in a theatre group allowed us to develop a repertoire of lively shows, enriched over the years and by new productions. I envision all my projects as role acting projects. I like that in the same show, there is a co-existence of tradition and experiment, grandiloquence and the most trivial realism, satiric mockery and vibrating tribute; and classic tragedy and hoax. My choice of repertoire is always guided by this desire to open up genres, to knock down codes, disputing the notion of the setup. Because his hero is a rebellious, "Don Quixote" crystallises this relationship with theatre, and with the world.

The story in a few words: Alonso Quijano reads too many novels of chivalry. He then becomes feverish and fanatical. He changes name, decides to become an errant knight and departs on the road joined by his squire Sancho Panza, looking for the glory, defending the oppressed, assailing the oppressors, and fighting against the injustices of this world.

In theatre, reality only exists in the representation, with its actors playing the show and its spectators attending it: I believe in the truth of theatre performance, but not in a strictly realistic fiction. On the other hand, there is no place more convenient than theatre to confront fiction and reality. Shakespeare, Caldéron, Hugo, Jarry, Pirandello, and Brecht all understood that the strength of theatre was exactly in these moments of confusion where fiction and reality become one, in the same way, where characters are actors who play characters, in front of an audience that plays the game of the representation. I imagine the stage scattered with various equipment (cameras, screens, rails, projectors on feet, crane, a control booth, microphones, painted fabrics, an oversized horse, armours…). The choice of a film set as a scenography has to immediately create an overlap between fiction (the story) and reality (the representation). The show tells the story of a man who decides to fight against the mediocrity of the world, to transform it into a “phantasmagorical” epic. I believe that it is the quest of every artist and every spectator.

Jérémie Le Louët