Noémie Guedj

Noémie Guedj, Simon Denis and Jérémie Le Louët bring to life Collodi’s densely populated universe, tackle the disguising of the different voices, and use music and amplified sounds to recreate the magic of one of the world’s finest myths.

Based on its observations of the theatre industry, Affreux, bêtes et pédants denounces posturing, of the most pathetic kind, and all the imposters that are connected with it. In short, an unholy array of monsters. Preconceived ideas, the commonplace, and downright stupidity are the basis for this hard-hitting, unbiased fresco.

Through a mixture of seduction, manipulation, composition, and imprecation, Richard turns his ascension and fall from power into a very entertaining spectacle. It provides us with an implacable, sarcastic and angry demonstration of the mediocrity of the world.

Salomé is a declaration of love to the French language, a meteor in the work of Oscar Wilde. In this moon-inspired poem, imbibed with exoticism and strange sonorities, Dramaticules endows the different characters with the full range of feelings and emotions.

In Le Horla, Jérémie Le Louët finds strong resonances with his work as an actor. The staging does not seek to create a Normandy-inspired interior. Instead, by virtue of its simplicity and technical exigencies, it aims to shed light upon the obsessions, anguish, and metaphysical questions that the protagonist is subject to.

In three episodes, Plus belle la vie d’une compagnie is an incisive and humorous look at the life of a theatre company, named after a similarly-named French soap-opera. Nobody is spared: artists, theatre professionals and spectators alike. This offbeat triptych takes an uncompromising look at what happens backstage.

The different characters are the senior staff of an undefined bureaucratic institution. The patients, that we never actually see, are identified by their matriculation numbers. Dramaticules draws upon the sadistic joviality and explosive atmosphere of this “hot-house”, in which comedy and cruelty go hand-in-hand.

In this tragic, Ubu-like verbal outpouring, Ionesco investigates vanity, destiny and death. What is entertainment for some is a nightmare for others. From vaudeville to tragedy, via the fairy-tale, the play gives us the opportunity for individual reflection on the mechanisms of power.