What is your first memory of living art?
I was in primary school. The teacher took us to the arenas of Fréjus to attend a concert-show which talked about ecology. It was more than twenty years ago and I remember a few words: “Throw all the trash in the trash!” » It was great to be able to be outside during class time.
What was the trigger that made you want to pursue a career in the performing arts sector?
A meeting. I asked a boy I knew a little what he did for a living. He answered me: “I am a clown for sick children in the hospital and I teach the Florent course” That intrigued me. A few months later, I was enrolled in the Florent course and I stayed there for four years.
What made you choose to be an actress?
During the Florent course, I discovered reading. I dove into lives other than my own and I loved it. Then, we had to embody these lives by stepping into the skin of the characters. I started to imitate by looking for a voice and a body. These moments of theatrical research reminded me of childhood. When I was little, I played with my sister to imitate grown-ups. I think that’s what I liked most, bringing characters back to life.
The first show you participated in and what memory do you remember of it?
When falling on the room The Falls from Barillet Grédy at the theatrical bookstore, I fell in love with the characters in this story. I immediately managed to imagine each member of my group of friends (Pauline Huriet, Camille Tissot, Florian Boulay, Chloé Ltemporel, Romain Forêt, Arturo Perrier and myself) in one of the roles. So I organized a reading with them and we spent the afternoon having a laugh. It was from that moment that I decided to put on this piece for my final studies at Cours Florent.
We continued with the Avignon festival. It was intense. I loved being on stage with so many people. I discovered directing, production… This experience was formative. Thanks to the carefree nature of our youth, we took all the hazards we encountered during operation with a smile. Over time, because funding was hard to find and other projects opened up to us, the end of the adventure of Choutes rang. I have very fond memories of it. My dad has a poster of the play in his room that we all have autographed.
Your biggest stage favorite?
It was at the Théâtre du Rond-Point. I had just arrived in Paris. A friend gave me two tickets to go see the show Holy in the firewith Laurence Vielle, directed by Laurent Fréchuret. That evening, before my eyes there was a single actress on stage who, for an hour, played Joan of Arc. The play ended and I couldn’t stop crying. A few days later, I realized that I had just received my first theatrical slap. The poetry of Laurence Vielle, everything about this woman moves me! Her voice, her body, her writing. And then I would also say, the Zingaro Equestrian Theater in Bartabas. Exile Cabaret was a favorite. Each painting is a painting.
What are your best encounters?
A few years ago, I celebrated my birthday alone with Pierre Barillet. I was happy to have this old gentleman in front of me, talking to me about a theatrical era that I never knew. Juliette Bayi, my friend, with whom I work on The smell of war for more than three years. Élodie Menant, Jules, Nolwenn, Thomas, Rodolphe. Every person I work with The smell of war. My partner, my family, my friends, my boxing coach, my theater teachers, my friends from the south. All the women I met through boxing classes.
How is your job essential to your balance?
I would rather say that: not working all the time allows me to find a balance. I need to take breaks from my job. Being with my friends, traveling, reading fills me and allows me to be fully there when I am creating or on a theater set.
What inspires you?
In the association, I have met many people with chaotic life paths who want to get out of it and who are fighting for a better life. These are life journeys that move me and inspire me. Some time ago, I gave boxing lessons to women who had been through the worst. They were there, in front of me, boxing gloves on their hands, ready to take back possession of their bodies. It’s this strength that inspires me, the one that comes from the guts.
What is your relationship to the stage?
More and more healthy, I believe, but also more and more joyful and playful.
Where in your flesh, in your body do you locate your desire to do your job?
Thanks to boxing, I am aware of every part of my body. I am connected to my hands, to my legs, to my heart, to my elbows, to my eyes. There is no more dissociation. If the desire is present, it passes from head to toe. On the contrary, if the desire is not there, my whole body is impacted.
Which other artists would you like to work with?
I would like to work with Léopold Legrand, Tony Gatlif, Emmanuelle Bercot, Joël Pommerat, Philippe Genty, Laurent Fréchuret.
What crazy project would you like to participate in?
Play Electra by Sophocles.
If your life were a work, what would it be?
The smell of war
Comments collected by Marie-Céline Nivière
The smell of war, written and performed by Julie Duval
La Scala Paris
13 boulevard de Strasbourg
75010 Paris
From September 22, 2024 to May 18, 2024
Duration 1h15
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