I developed quite early a twofold relationship with theatre and literature. I never quite settled for acting.
Tell us about your career…
Trained as an actor, I studied at the ERAC, drama school in Cannes. I have a master degree in comparative literature. My final paper consisted in translating in French Iranian contemporary poetry. As a translator, I already worked with Thierry Bédard on Exilith, inspired by Lilith by the Iranian writer Réza Barahéni. So, I developed quite early a twofold relationship with theatre and literature. I never quite settled for acting. I had an epiphany during a Marina Abramovic retrospective at the MoMA New York. She was staging a performance, The Artist is Present : sitting at a table, she invited visitors to sit across from her and look her in the eyes. It was so simple and yet so deeply moving that I went there three days in a row. What moved me then – I had trouble identifying it – was the question of representation. She was able to arouse so much emotion by silently sitting there while theatre was often failing to do so.
When I came back to France, I wrote my first performance, Touch me. I invited the audience to come into physical contact with me to make the story evolve and let drama happen. From this moment, I’ve been writing my own texts, finding inspiration in my personal life, asking myself how it may be both personal and universal and how the audience can get involved in the show.
Throughout all my artistic encounters, I fell in love again with theatre and today in addition to my shows, I joyfully carry on acting, especially under the direction of Damien Chardonnet-Darmaillacq and Perrine Maurin.
interview by Patrick Beaumont
Relationship with the audience…
The elements composing my shows turn them into installation arts more than simple shows.
I focus on crossing the frontier between stage and audience and invites the audience to share the same space as the performers.The audience becomes more than just an audience as its senses (other than sight and hearing) are also needed. Besides, it is essential to me to get involved with the audience before and after the show through workshops, debates, discussions. I always try to make them happen every time my shows are performed in a theatre.