Raphaëlle Boitel started her career at 13 as a contortionist, spotted by the director James Thierrée, grandson of Charlie Chaplin, who took her on the world tour of The Cockchafer Symphony. Trained at a good school, the acrobat founded her company, L’Oublié(e) in 2012, cultivating an aerial style between circus and dance with elaborate lighting which gives a cinematic aspect to her creations. The director will present four shows at the International Circus Arts Biennial (Biac), often tackling serious subjects but always delivering a message of hope. The Fall of the Angelsto be seen from 7 years old at La Criée in Marseille from January 15 to 17 and at Liberté in Toulon on February 1 and 2, critiques everything technological through a funny and disturbing robotic ballet. Inspired by the cinema of David Lynch and Hitchcock, Cast shadowsto be seen at the Durance theater in Château-Arnoux-Saint-Auban on January 28 and 29, and February 6 and 7 at Zef in Marseille, will plunge us into the heart of a family and its unsaid things. Raphaëlle Boitel will also resume her solo The Black Beast and will create at the Biennale The Little Queen with a bicycle acrobat, “a play about the influence of love, for adults“.
What did meeting James Thierrée bring you, who chose you at the age of 13 to play in his flagship play “The Cockchafer Symphony”?
We met on the set of The beautiful green by Coline Serreau, then James came to train at the Annie Fratellini academy, which I joined at 10 years old. He told me about his show. As I was too young, my mother, a costume designer, agreed to follow us on tour. This show, the founder of contemporary circus, has toured the world. At that age, you don’t realize everything! I was living my passion, it was great, intense, hard too. I worked for thirteen years with James Thierrée and I learned a lot in theater, dance and readings.
Your first show is called “L’Oublié(e)”, the eponymous title of your company. Who is she?
I have been working on women artists who left their mark on their time but who have been somewhat forgotten. Like Loïe Fuller, who developed a dance with veils at the beginning of the 20th century. We remember more his student Isadora Duncan, who stole the show a little. Or the Countess of Castiglione who distinguished herself in photography and Camille Claudel, who is better remembered. All of these artists inspired and gave me strength as a young woman when I founded my company. L’Oublié(e) has several meanings: it is also the story of this man on stage who represents my father (who died when she was two years old, Editor’s note). The questions of mourning and family are central. This show was about my family. Besides, I put my mother, my sister and my brother on stage! In a first show, everything comes out of itself.
You have always been loyal to your lighting designer, Tristan Baudoin, and to the composer Arthur Bison. How do you work together?
It is indeed a particularity of the company, we create with six hands. From the start of the residencies, we work in light. Tristan creates, for example, a luminous corridor inside which the artists improvise, I direct them on the microphone, I lead them to go further in this direction. Arthur also arrives very early in creation. It’s really a ping-pong between us and that’s what’s great. In The fall of the angelslight is almost the seventh character, it is part of the acrobatic ballet, it moves, it dances thanks to numerous mechanical arms. This is only possible if we work from the start in total fusion.
“The Fall of the Angels” and “Ombres Portes” are the two large-format shows presented at the Biac. What is it about?
The fall of the angels is a black and white dystopia: this societal show speaks of “supertechnology”, of characters who are formatted, controlled by demiurges. The play also speaks of hope and revolt because these human beings decide to find a little humanity. I sought my inspiration from science fiction, 1984 de George Orwell, Army of the Twelve Monkeys by Terry Gilliam. There are lots of references like that, the allegory of Plato’s cave. Cast shadows is once again a family story – but not mine at all – which suffers from being left unsaid. My writing is often tragicomic. I talk about quite tragic things through humor. I am inspired by silent cinema, Chaplin, Buster Keaton. The flying rope allows us to express the psychological states of these characters who carry this secret.
You will create “Little Queen” at the Biennale with a bicycle acrobat. A show with a retro aesthetic?
Yes and no. Edith is a character outside of time, the story could take place in any era, even if, indeed, there is a reference to the 50s, with the song La vie en rose by Edith Piaf. This show is about romantic influence. It’s the story of an endearing, sunny woman who we see fall psychologically because a man mistreats her. We will see her depreciate even though she is absolutely magnificent. I created this piece because friends have experienced this, but it could also happen to a man. I give a message of hope by affirming that we can take back our lives. The circus, for me, is extremely physical, visual, beautiful, but speaks to real life.
You are an associated artist for this edition of the Biac. What does it mean to you?
One of the first circus shows I saw as a child was a play by Archaos (the Marseille company which runs the Biennale, Editor’s note). This show really had an impact on me and made me want to do the circus, so it’s moving for me to be invited here! The Biennale is extremely recognized. It affects the region, brings together a huge number of cultural actors and attracts professionals from all over the world. For example, my programmer in Japan will be present. The Biac has a real international dimension which allows contemporary circus to develop, it is essential.
