Nine years almost to the day after performing Twentieth centuryyou are back on the Cado stage at the Théâtre d’Orléans with upside down. What memories did you have of it?
I remember a large hall, a large audience at each performance. Spectators who come from Orléans but also from surrounding towns. And the possibility of meeting a different audience for ten evenings since we also have the chance to play for quite a long time.
What pleasure do you get from being back on stage?
I will never part with the theater, I will always come back to it. It is obviously a very sporting course, a strong, emotional commitment. Each meeting with the public must be like a first time. We must be like a beginner, ready to discover new reactions from the audience present that evening.
-It’s uncompromising work, because unlike in cinema, you can’t reshoot a scene. Each time, it’s a plunge into the void. There is also a phrase from Dubillard which says: “You have to throw yourself into the void without thinking. If you then realize that you have forgotten your parachute, so much the better. That’s when you will prove yourself.” It’s a bit like the feeling we get when we go on stage, the theater gives us this opportunity to experience things live.
In upside downyou have brought together a selection of texts, poems, sketches by Sacha Guitry, Roland Dubillard, Raymond Devos, Victor Hugo, Michel Houellebecq… How did you create this anthology?
