Hancock Customer Card

Someone like you, Fabrice Roger-Lacan


Someone like you of Fabrice Roger-Lacan

Director: Isabelle Nanty
Assistant Director: David Zeboulon

With Jacques Weber and Bénabar

Premiere at Theatre du Rond-Point

duration: 1h30


*** **

You count how to go about it? bare hands?

A beach, two men. The void around them, three miles from bare sand, the sun above. But the youngest is growing near the oldest. Promiscuity in the desert. Why? Here they are questioning. One boss, happy bear, high social status, seeking rest. The other, henchman, fox smart, lugs around a secret in his bag. Regulation accounts, head reserve price, murder rule, anything seems possible. Doubt and questions fall flat.
"Can not find it comforting you, that man is not only a threat to humans? "

In a brisk pace, dense, a fight with bare hands and discovered words, two monsters clash, experience themselves in a space stripped gradually invading all parts of the stage machinery; hangers or spot in a chorus of strange sounds. Lively dialogue, tempered with humor and horror, someone as you mentioned in today's world through two figures selfish monsters who seek to invent a relationship. They experience themselves in vain to the point of no return, in their infinite loneliness, hopeless.

Author Tie Club, of Irresistible , cruel and exhilarating piece, co-writer of the first film by Isabelle Nanty, The Bison (and its neighbor Dorine) , Fabrice Roger-Lacan organizes a set of massacre without thank you. Actress, director faithful to the author, Isabelle Nanty orchestra this chess game fiery, fiercely malignant or bullying. She tames two
"dragons that never give the custody, two sumo wrestlers who want to stay in their place, anchored by a formidable gravity. "She leads Jacques Weber, with whom she began, and " beginner " Bénabar who made his debut as an actor in theater beasts stage registers opposing superstars.

production of Roundabout Theatre / Le Rond-Point des tours
text published by the Preliminary Stage Theatre, the Four Winds Collection

*****

Excerpts from the text: Someone like you of Fabrice Roger-Lacan

to follow ...


*****

Author: Fabrice Roger-Lacan *

Writer and playwright, director, dialogue writer and adviser, he began writing for film and television, including his debut in 1993, a feature film, The Madness sweet Frederick's Garden. In 2000 he co-wrote the screenplay for The Bostella first film Edouard Baer and participated in one of Akoibon in 2005. With his play Tie Club, played by Charles Berling, Edouard Baer and mounted in 2000 at the Gaite Montparnasse, he became known to the public. It then adjusts the room film and writing scenarios Bison (and its neighbor Dorine) Isabelle Nanty, of Adolphe by Benoît Jacquot and Treasure Island Alain Berberian. His latest play, Irresistible , directed by Isabelle Nanty, also won a great success with the public.

* Fabrice Roger-Lacan is the son of Roger Caroline, eldest daughter of Jacques Lacan. Alumnus of the EABJM, he continued his studies at the Ecole Normale Supérieure in the Rue d'Ulm the Film School at the University of New York before working with directors as diverse as the universe Edouard Baer, Benoit Jacquot, Bruno Chiche or Isabelle Nanty .

Upfront-theatre.com - Allocine.com

*****

Preview:
Someone else: What
you looking for?
Someone: A sneaker.
anyone else: Why?
Someone: Because I miss
a sneaker.
anyone else: Why does it bother you
? Why does it bother you to go on, and
a little cream in the back?
Someone: That bothers me is all.
anyone else: That bothers you?
Someone: Yes. It bothers me if you
want.
anyone else: That's not me who
want is that you want to.
why you want to?
Someone: Because I want to.
anyone else: Why is that you
discomfort?
Someone: I will not make you a
drawing.
anyone else: Why not?
A drawing in the sand. Sometimes it is easier to express
thing as
it with words. It really bothers you
to spread a little sunscreen
between the shoulder blades of your counterpart.
Someone: It's not a question
of blades or sunscreen.
anyone else: It is
of what? Tell me. I'm sure your work
you say things without
wear gloves. Why you take
gloves with me?
Someone: I do not take the gloves.
I tell you, there. In the face. There is no question that
I touch your skin
back. With or without cream.
anyone else: With gloves
you want right?
Someone: No.
Someone else: Even with gloves
it disgusts you?
Someone: This is not the issue.
Someone else: I do not
disgusts you?
Someone: What?
Someone else: I do not
disgusts you?
Someone: No. Not especially.
You do not disgust me especially.
anyone else: Not really
? I do not disgust
more than another?
Someone: That's it.
Someone else: Everyone
disgusts you.
Someone: Everyone does not
disgusts me. It's a question. It is a question of
skin. Flesh.
anyone else: My flesh
disgusts you?
Someone: Not your flesh. The flesh. The
flesh.
Someone else: People?
Someone: Not people. The
people do not disgust me. The flesh
people do not disgust me. I'm
someone open. Tolerance. I am a man
contact. I have friends from all
. All. Of all backgrounds.
anyone else: A man
contact.
Someone: A man of contact.
can be a human contact and does not have especially keen

cream to coat the skin of a stranger.

Hancock Customer Card

Someone like you, Fabrice Roger-Lacan


Someone like you of Fabrice Roger-Lacan

Director: Isabelle Nanty
Assistant Director: David Zeboulon

With Jacques Weber and Bénabar

Premiere at Theatre du Rond-Point

duration: 1h30


*** **

You count how to go about it? bare hands?

A beach, two men. The void around them, three miles from bare sand, the sun above. But the youngest is growing near the oldest. Promiscuity in the desert. Why? Here they are questioning. One boss, happy bear, high social status, seeking rest. The other, henchman, fox smart, lugs around a secret in his bag. Regulation accounts, head reserve price, murder rule, anything seems possible. Doubt and questions fall flat.
"Can not find it comforting you, that man is not only a threat to humans? "

In a brisk pace, dense, a fight with bare hands and discovered words, two monsters clash, experience themselves in a space stripped gradually invading all parts of the stage machinery; hangers or spot in a chorus of strange sounds. Lively dialogue, tempered with humor and horror, someone as you mentioned in today's world through two figures selfish monsters who seek to invent a relationship. They experience themselves in vain to the point of no return, in their infinite loneliness, hopeless.

Author Tie Club, of Irresistible , cruel and exhilarating piece, co-writer of the first film by Isabelle Nanty, The Bison (and its neighbor Dorine) , Fabrice Roger-Lacan organizes a set of massacre without thank you. Actress, director faithful to the author, Isabelle Nanty orchestra this chess game fiery, fiercely malignant or bullying. She tames two
"dragons that never give the custody, two sumo wrestlers who want to stay in their place, anchored by a formidable gravity. "She leads Jacques Weber, with whom she began, and " beginner " Bénabar who made his debut as an actor in theater beasts stage registers opposing superstars.

production of Roundabout Theatre / Le Rond-Point des tours
text published by the Preliminary Stage Theatre, the Four Winds Collection

*****

Excerpts from the text: Someone like you of Fabrice Roger-Lacan

to follow ...


*****

Author: Fabrice Roger-Lacan *

Writer and playwright, director, dialogue writer and adviser, he began writing for film and television, including his debut in 1993, a feature film, The Madness sweet Frederick's Garden. In 2000 he co-wrote the screenplay for The Bostella first film Edouard Baer and participated in one of Akoibon in 2005. With his play Tie Club, played by Charles Berling, Edouard Baer and mounted in 2000 at the Gaite Montparnasse, he became known to the public. It then adjusts the room film and writing scenarios Bison (and its neighbor Dorine) Isabelle Nanty, of Adolphe by Benoît Jacquot and Treasure Island Alain Berberian. His latest play, Irresistible , directed by Isabelle Nanty, also won a great success with the public.

* Fabrice Roger-Lacan is the son of Roger Caroline, eldest daughter of Jacques Lacan. Alumnus of the EABJM, he continued his studies at the Ecole Normale Supérieure in the Rue d'Ulm the Film School at the University of New York before working with directors as diverse as the universe Edouard Baer, Benoit Jacquot, Bruno Chiche or Isabelle Nanty .

Upfront-theatre.com - Allocine.com

*****

Preview:
Someone else: What
you looking for?
Someone: A sneaker.
anyone else: Why?
Someone: Because I miss
a sneaker.
anyone else: Why does it bother you
? Why does it bother you to go on, and
a little cream in the back?
Someone: That bothers me is all.
anyone else: That bothers you?
Someone: Yes. It bothers me if you
want.
anyone else: That's not me who
want is that you want to.
why you want to?
Someone: Because I want to.
anyone else: Why is that you
discomfort?
Someone: I will not make you a
drawing.
anyone else: Why not?
A drawing in the sand. Sometimes it is easier to express
thing as
it with words. It really bothers you
to spread a little sunscreen
between the shoulder blades of your counterpart.
Someone: It's not a question
of blades or sunscreen.
anyone else: It is
of what? Tell me. I'm sure your work
you say things without
wear gloves. Why you take
gloves with me?
Someone: I do not take the gloves.
I tell you, there. In the face. There is no question that
I touch your skin
back. With or without cream.
anyone else: With gloves
you want right?
Someone: No.
Someone else: Even with gloves
it disgusts you?
Someone: This is not the issue.
Someone else: I do not
disgusts you?
Someone: What?
Someone else: I do not
disgusts you?
Someone: No. Not especially.
You do not disgust me especially.
anyone else: Not really
? I do not disgust
more than another?
Someone: That's it.
Someone else: Everyone
disgusts you.
Someone: Everyone does not
disgusts me. It's a question. It is a question of
skin. Flesh.
anyone else: My flesh
disgusts you?
Someone: Not your flesh. The flesh. The
flesh.
Someone else: People?
Someone: Not people. The
people do not disgust me. The flesh
people do not disgust me. I'm
someone open. Tolerance. I am a man
contact. I have friends from all
. All. Of all backgrounds.
anyone else: A man
contact.
Someone: A man of contact.
can be a human contact and does not have especially keen

cream to coat the skin of a stranger.

Hancock Customer Card

Someone like you, Fabrice Roger-Lacan


Someone like you of Fabrice Roger-Lacan

Director: Isabelle Nanty
Assistant Director: David Zeboulon

With Jacques Weber and Bénabar

Premiere at Theatre du Rond-Point

duration: 1h30


*** **

You count how to go about it? bare hands?

A beach, two men. The void around them, three miles from bare sand, the sun above. But the youngest is growing near the oldest. Promiscuity in the desert. Why? Here they are questioning. One boss, happy bear, high social status, seeking rest. The other, henchman, fox smart, lugs around a secret in his bag. Regulation accounts, head reserve price, murder rule, anything seems possible. Doubt and questions fall flat.
"Can not find it comforting you, that man is not only a threat to humans? "

In a brisk pace, dense, a fight with bare hands and discovered words, two monsters clash, experience themselves in a space stripped gradually invading all parts of the stage machinery; hangers or spot in a chorus of strange sounds. Lively dialogue, tempered with humor and horror, someone as you mentioned in today's world through two figures selfish monsters who seek to invent a relationship. They experience themselves in vain to the point of no return, in their infinite loneliness, hopeless.

Author Tie Club, of Irresistible , cruel and exhilarating piece, co-writer of the first film by Isabelle Nanty, The Bison (and its neighbor Dorine) , Fabrice Roger-Lacan organizes a set of massacre without thank you. Actress, director faithful to the author, Isabelle Nanty orchestra this chess game fiery, fiercely malignant or bullying. She tames two
"dragons that never give the custody, two sumo wrestlers who want to stay in their place, anchored by a formidable gravity. "She leads Jacques Weber, with whom she began, and " beginner " Bénabar who made his debut as an actor in theater beasts stage registers opposing superstars.

production of Roundabout Theatre / Le Rond-Point des tours
text published by the Preliminary Stage Theatre, the Four Winds Collection

*****

Excerpts from the text: Someone like you of Fabrice Roger-Lacan

to follow ...


*****

Author: Fabrice Roger-Lacan *

Writer and playwright, director, dialogue writer and adviser, he began writing for film and television, including his debut in 1993, a feature film, The Madness sweet Frederick's Garden. In 2000 he co-wrote the screenplay for The Bostella first film Edouard Baer and participated in one of Akoibon in 2005. With his play Tie Club, played by Charles Berling, Edouard Baer and mounted in 2000 at the Gaite Montparnasse, he became known to the public. It then adjusts the room film and writing scenarios Bison (and its neighbor Dorine) Isabelle Nanty, of Adolphe by Benoît Jacquot and Treasure Island Alain Berberian. His latest play, Irresistible , directed by Isabelle Nanty, also won a great success with the public.

* Fabrice Roger-Lacan is the son of Roger Caroline, eldest daughter of Jacques Lacan. Alumnus of the EABJM, he continued his studies at the Ecole Normale Supérieure in the Rue d'Ulm the Film School at the University of New York before working with directors as diverse as the universe Edouard Baer, Benoit Jacquot, Bruno Chiche or Isabelle Nanty .

Upfront-theatre.com - Allocine.com

*****

Preview:
Someone else: What
you looking for?
Someone: A sneaker.
anyone else: Why?
Someone: Because I miss
a sneaker.
anyone else: Why does it bother you
? Why does it bother you to go on, and
a little cream in the back?
Someone: That bothers me is all.
anyone else: That bothers you?
Someone: Yes. It bothers me if you
want.
anyone else: That's not me who
want is that you want to.
why you want to?
Someone: Because I want to.
anyone else: Why is that you
discomfort?
Someone: I will not make you a
drawing.
anyone else: Why not?
A drawing in the sand. Sometimes it is easier to express
thing as
it with words. It really bothers you
to spread a little sunscreen
between the shoulder blades of your counterpart.
Someone: It's not a question
of blades or sunscreen.
anyone else: It is
of what? Tell me. I'm sure your work
you say things without
wear gloves. Why you take
gloves with me?
Someone: I do not take the gloves.
I tell you, there. In the face. There is no question that
I touch your skin
back. With or without cream.
anyone else: With gloves
you want right?
Someone: No.
Someone else: Even with gloves
it disgusts you?
Someone: This is not the issue.
Someone else: I do not
disgusts you?
Someone: What?
Someone else: I do not
disgusts you?
Someone: No. Not especially.
You do not disgust me especially.
anyone else: Not really
? I do not disgust
more than another?
Someone: That's it.
Someone else: Everyone
disgusts you.
Someone: Everyone does not
disgusts me. It's a question. It is a question of
skin. Flesh.
anyone else: My flesh
disgusts you?
Someone: Not your flesh. The flesh. The
flesh.
Someone else: People?
Someone: Not people. The
people do not disgust me. The flesh
people do not disgust me. I'm
someone open. Tolerance. I am a man
contact. I have friends from all
. All. Of all backgrounds.
anyone else: A man
contact.
Someone: A man of contact.
can be a human contact and does not have especially keen

cream to coat the skin of a stranger.

Free Play Dinosaure King

Garden opening Wednesday, March 2

Our garden park will open its doors on Wednesday 2 March, we will therefore open during the February vacation es Wednesdays, Saturdays and Sundays 1:30 p.m. to 6:00 p.m., hoping that the weather is favorable we at the beginning of spring.

This season will be punctuated by moments :

- workshops for children during the flight Easter holiday and Toussaint

- weekend Passion Train (the two 8 / 2 May 9)

- openings summer night in (Friday 22 and July 29, 5 and 12 August .

After Crussol Castle in 2010, c e spring, new site will come with the recovery of Lake Issarlès on the heights of the Ardèche plateau. For discover and monitor the progress of work, new 2011, it is possible to buy a year pass offering unlimited access to the park for the entire season. Throughout the month of March, the park welcomes visitors Wednesdays, Saturdays, Sundays from 13:30 to 18:00 (more info by phone: 04 75 60 96 58).

Free Play Dinosaure King

Garden opening Wednesday, March 2

Our garden park will open its doors on Wednesday 2 March, we will therefore open during the February vacation es Wednesdays, Saturdays and Sundays 1:30 p.m. to 6:00 p.m., hoping that the weather is favorable we at the beginning of spring.

This season will be punctuated by moments :

- workshops for children during the flight Easter holiday and Toussaint

- weekend Passion Train (the two 8 / 2 May 9)

- openings summer night in (Friday 22 and July 29, 5 and 12 August .

After Crussol Castle in 2010, c e spring, new site will come with the recovery of Lake Issarlès on the heights of the Ardèche plateau. For discover and monitor the progress of work, new 2011, it is possible to buy a year pass offering unlimited access to the park for the entire season. Throughout the month of March, the park welcomes visitors Wednesdays, Saturdays, Sundays from 13:30 to 18:00 (more info by phone: 04 75 60 96 58).

Free Play Dinosaure King

Garden opening Wednesday, March 2

Our garden park will open its doors on Wednesday 2 March, we will therefore open during the February vacation es Wednesdays, Saturdays and Sundays 1:30 p.m. to 6:00 p.m., hoping that the weather is favorable we at the beginning of spring.

This season will be punctuated by moments :

- workshops for children during the flight Easter holiday and Toussaint

- weekend Passion Train (the two 8 / 2 May 9)

- openings summer night in (Friday 22 and July 29, 5 and 12 August .

After Crussol Castle in 2010, c e spring, new site will come with the recovery of Lake Issarlès on the heights of the Ardèche plateau. For discover and monitor the progress of work, new 2011, it is possible to buy a year pass offering unlimited access to the park for the entire season. Throughout the month of March, the park welcomes visitors Wednesdays, Saturdays, Sundays from 13:30 to 18:00 (more info by phone: 04 75 60 96 58).

Marriage Invitation Quotes Funny

Open to Junior Chamber International Arras Arras JCE

This Thursday, February 24, the Junior Chamber of Arras opened its doors.

You do not know who we are or what we bring to society, you want to get involved in a citizens' movement, but do not know how; ... so many reasons for your visit.
The rendezvous was set Thursday, February 24, 2011 at 19h at the headquarters of the association.

Two people came to meet us!
You missed the appointment, then email us on arras@jcef.asso.fr before the next door open April 21 2011.

Marriage Invitation Quotes Funny

Open to Junior Chamber International Arras Arras JCE

This Thursday, February 24, the Junior Chamber of Arras opened its doors.

You do not know who we are or what we bring to society, you want to get involved in a citizens' movement, but do not know how; ... so many reasons for your visit.
The rendezvous was set Thursday, February 24, 2011 at 19h at the headquarters of the association.

Two people came to meet us!
You missed the appointment, then email us on arras@jcef.asso.fr before the next door open April 21 2011.

Marriage Invitation Quotes Funny

Open to Junior Chamber International Arras Arras JCE

This Thursday, February 24, the Junior Chamber of Arras opened its doors.

You do not know who we are or what we bring to society, you want to get involved in a citizens' movement, but do not know how; ... so many reasons for your visit.
The rendezvous was set Thursday, February 24, 2011 at 19h at the headquarters of the association.

Two people came to meet us!
You missed the appointment, then email us on arras@jcef.asso.fr before the next door open April 21 2011.

What Do All The Shag Band Colours Mean

"The Letter to the players," Valerius Novarina: reading students the option of Terminal theater on the stage of the Odeon Theatre

What Do All The Shag Band Colours Mean

"The Letter to the players," Valerius Novarina: reading students the option of Terminal theater on the stage of the Odeon Theatre

What Do All The Shag Band Colours Mean

"The Letter to the players," Valerius Novarina: reading students the option of Terminal theater on the stage of the Odeon Theatre

What Programme Was Spanish Flea The Theme Tune To

The Letter actors , Valerius Novarina , Theatre lyrics , 1989

I write by ear. For actors tires.

points in old Arabic manuscripts, were marked by respiratory suns ... Breathe, lungs! C Lungs, it does not mean moving the air, yelling, swell, but to have a real economy breathing, use all the air that it takes all spend before the resume, go to the end of his breath until the constriction of asphyxia final point, the point of the sentence, the fist that has the side after the race. Mat

Mouth, anus. Sphincters. Not'tube closing round muscles. Da The opening and closing speech. Net attack Mel (teeth, lips, mouth, muscular) Da e t end net Mel ( cut air ) Da . Stop Net. Chew and eat the text. The blind audience must hear crunching and swallowing, ask what they eat over there on that shelf. Mel What do they eat? They eat? Di Chew or swallow. Chewing, sucking, swallowing . E Some pieces of text should be bitten, attacked viciously by eating Max (lips, teeth) Da ; other pieces must be quickly Gobes, swallowed, swallowed, sucked, swallowed. Mel Eat, swallows, eats, chews, dry lung, chew, chew, cannibal! Max Ouch, ouch ... Di Many of the text must be initiated by a breath, without taking a breath, making use of everything. Spend it all. Not keep its small reserves, not being afraid to lose momentum. Seems that's how we found the rhythm, the different breaths, by engaging in free fall. Hu Not quite cut while slicing intelligent, intelligible sliced - as is the usual French diction of today where the actor's job is to divide your text into salami, to stress certain words, the load of intentions, to repeat the exercise in short segmentation of speech is learned in school: sentence cut in subject-verb-object, the game of searching for the key word to emphasize a phrase, for many show that a good student is intelligent - as when, while the word form rather something like an air tube, a pipe sphincter, a column breakaway irregular, spasms, Gate, flowing cut to leak pressure. Hey

Where is it the heart of it all? Is it the heart that pump circulates this? ... A The heart of it all, he is in the bottom of the stomach in the abdominal muscles. These are the same muscle belly, pressing gut or lungs, we used to defecate or enlarging the floor. Should not make intelligent, but to the bellies, teeth, the jaws to work. Mat

Will one day an actor delivers his living body to medicine, we open, we finally know what is happening inside, Di when it plays. A Let know how it's done, the other body. Because the author is playing with another body than his. With a body that works the other way. In the game a new body? Or another of the same economy? E is not known yet. Be open. Di When it plays. A

body involved is not a body that exaggerates S (gestures, facial expressions) Da , the actor is not a "comedian" , not stirred. S The game is not stirring in more of the muscles under the skin, a gesture surface, a triple activity of the visible parts of the body and expressive T (amplify the grimaces, rolling his eyes, speak louder and more rhythmic) Da playing is not emit more signals; play it have in the envelope of skin, pancreas, spleen, vagina, liver, kidney and intestines, all circuits, all pipes , the flesh under the skin swing, the whole body anatomical whole body unnamed while hiding the body, whole body bloody invisible, irrigated, claiming that move below, which s'ranime, talking. Mat

But we want to believe him, the actor, his body is fifteen thousand square centimeters of skin gently offering itself as a carrier signal to the show , six hundred and four possible positions in the expressive art of staging, a telegraph in order to gin gestures and intonations necessary for the understanding of discourse, an element, after all, a piece of the whole an instrument of the orchestra concerto. N when the actor is neither an instrument nor an interpreter, but the only place where it goes and that's it. S

The actor is not an interpreter because the body is not an instrument. Because this is not the instrument of the head. Because it is not his medium. A Those who say the actor to interpret the instrument of his body, those who treat him like an obedient clever brain to translate thoughts other signals in the body, those who think we can bring something to the other dun body and a head can order something to a body, are on the side of the ignorance of the body toward the suppression of body, ie the repression itself. Flo

What Programme Was Spanish Flea The Theme Tune To

The Letter actors , Valerius Novarina , Theatre lyrics , 1989

I write by ear. For actors tires.

points in old Arabic manuscripts, were marked by respiratory suns ... Breathe, lungs! C Lungs, it does not mean moving the air, yelling, swell, but to have a real economy breathing, use all the air that it takes all spend before the resume, go to the end of his breath until the constriction of asphyxia final point, the point of the sentence, the fist that has the side after the race. Mat

Mouth, anus. Sphincters. Not'tube closing round muscles. Da The opening and closing speech. Net attack Mel (teeth, lips, mouth, muscular) Da e t end net Mel ( cut air ) Da . Stop Net. Chew and eat the text. The blind audience must hear crunching and swallowing, ask what they eat over there on that shelf. Mel What do they eat? They eat? Di Chew or swallow. Chewing, sucking, swallowing . E Some pieces of text should be bitten, attacked viciously by eating Max (lips, teeth) Da ; other pieces must be quickly Gobes, swallowed, swallowed, sucked, swallowed. Mel Eat, swallows, eats, chews, dry lung, chew, chew, cannibal! Max Ouch, ouch ... Di Many of the text must be initiated by a breath, without taking a breath, making use of everything. Spend it all. Not keep its small reserves, not being afraid to lose momentum. Seems that's how we found the rhythm, the different breaths, by engaging in free fall. Hu Not quite cut while slicing intelligent, intelligible sliced - as is the usual French diction of today where the actor's job is to divide your text into salami, to stress certain words, the load of intentions, to repeat the exercise in short segmentation of speech is learned in school: sentence cut in subject-verb-object, the game of searching for the key word to emphasize a phrase, for many show that a good student is intelligent - as when, while the word form rather something like an air tube, a pipe sphincter, a column breakaway irregular, spasms, Gate, flowing cut to leak pressure. Hey

Where is it the heart of it all? Is it the heart that pump circulates this? ... A The heart of it all, he is in the bottom of the stomach in the abdominal muscles. These are the same muscle belly, pressing gut or lungs, we used to defecate or enlarging the floor. Should not make intelligent, but to the bellies, teeth, the jaws to work. Mat

Will one day an actor delivers his living body to medicine, we open, we finally know what is happening inside, Di when it plays. A Let know how it's done, the other body. Because the author is playing with another body than his. With a body that works the other way. In the game a new body? Or another of the same economy? E is not known yet. Be open. Di When it plays. A

body involved is not a body that exaggerates S (gestures, facial expressions) Da , the actor is not a "comedian" , not stirred. S The game is not stirring in more of the muscles under the skin, a gesture surface, a triple activity of the visible parts of the body and expressive T (amplify the grimaces, rolling his eyes, speak louder and more rhythmic) Da playing is not emit more signals; play it have in the envelope of skin, pancreas, spleen, vagina, liver, kidney and intestines, all circuits, all pipes , the flesh under the skin swing, the whole body anatomical whole body unnamed while hiding the body, whole body bloody invisible, irrigated, claiming that move below, which s'ranime, talking. Mat

But we want to believe him, the actor, his body is fifteen thousand square centimeters of skin gently offering itself as a carrier signal to the show , six hundred and four possible positions in the expressive art of staging, a telegraph in order to gin gestures and intonations necessary for the understanding of discourse, an element, after all, a piece of the whole an instrument of the orchestra concerto. N when the actor is neither an instrument nor an interpreter, but the only place where it goes and that's it. S

The actor is not an interpreter because the body is not an instrument. Because this is not the instrument of the head. Because it is not his medium. A Those who say the actor to interpret the instrument of his body, those who treat him like an obedient clever brain to translate thoughts other signals in the body, those who think we can bring something to the other dun body and a head can order something to a body, are on the side of the ignorance of the body toward the suppression of body, ie the repression itself. Flo

What Programme Was Spanish Flea The Theme Tune To

The Letter actors , Valerius Novarina , Theatre lyrics , 1989

I write by ear. For actors tires.

points in old Arabic manuscripts, were marked by respiratory suns ... Breathe, lungs! C Lungs, it does not mean moving the air, yelling, swell, but to have a real economy breathing, use all the air that it takes all spend before the resume, go to the end of his breath until the constriction of asphyxia final point, the point of the sentence, the fist that has the side after the race. Mat

Mouth, anus. Sphincters. Not'tube closing round muscles. Da The opening and closing speech. Net attack Mel (teeth, lips, mouth, muscular) Da e t end net Mel ( cut air ) Da . Stop Net. Chew and eat the text. The blind audience must hear crunching and swallowing, ask what they eat over there on that shelf. Mel What do they eat? They eat? Di Chew or swallow. Chewing, sucking, swallowing . E Some pieces of text should be bitten, attacked viciously by eating Max (lips, teeth) Da ; other pieces must be quickly Gobes, swallowed, swallowed, sucked, swallowed. Mel Eat, swallows, eats, chews, dry lung, chew, chew, cannibal! Max Ouch, ouch ... Di Many of the text must be initiated by a breath, without taking a breath, making use of everything. Spend it all. Not keep its small reserves, not being afraid to lose momentum. Seems that's how we found the rhythm, the different breaths, by engaging in free fall. Hu Not quite cut while slicing intelligent, intelligible sliced - as is the usual French diction of today where the actor's job is to divide your text into salami, to stress certain words, the load of intentions, to repeat the exercise in short segmentation of speech is learned in school: sentence cut in subject-verb-object, the game of searching for the key word to emphasize a phrase, for many show that a good student is intelligent - as when, while the word form rather something like an air tube, a pipe sphincter, a column breakaway irregular, spasms, Gate, flowing cut to leak pressure. Hey

Where is it the heart of it all? Is it the heart that pump circulates this? ... A The heart of it all, he is in the bottom of the stomach in the abdominal muscles. These are the same muscle belly, pressing gut or lungs, we used to defecate or enlarging the floor. Should not make intelligent, but to the bellies, teeth, the jaws to work. Mat

Will one day an actor delivers his living body to medicine, we open, we finally know what is happening inside, Di when it plays. A Let know how it's done, the other body. Because the author is playing with another body than his. With a body that works the other way. In the game a new body? Or another of the same economy? E is not known yet. Be open. Di When it plays. A

body involved is not a body that exaggerates S (gestures, facial expressions) Da , the actor is not a "comedian" , not stirred. S The game is not stirring in more of the muscles under the skin, a gesture surface, a triple activity of the visible parts of the body and expressive T (amplify the grimaces, rolling his eyes, speak louder and more rhythmic) Da playing is not emit more signals; play it have in the envelope of skin, pancreas, spleen, vagina, liver, kidney and intestines, all circuits, all pipes , the flesh under the skin swing, the whole body anatomical whole body unnamed while hiding the body, whole body bloody invisible, irrigated, claiming that move below, which s'ranime, talking. Mat

But we want to believe him, the actor, his body is fifteen thousand square centimeters of skin gently offering itself as a carrier signal to the show , six hundred and four possible positions in the expressive art of staging, a telegraph in order to gin gestures and intonations necessary for the understanding of discourse, an element, after all, a piece of the whole an instrument of the orchestra concerto. N when the actor is neither an instrument nor an interpreter, but the only place where it goes and that's it. S

The actor is not an interpreter because the body is not an instrument. Because this is not the instrument of the head. Because it is not his medium. A Those who say the actor to interpret the instrument of his body, those who treat him like an obedient clever brain to translate thoughts other signals in the body, those who think we can bring something to the other dun body and a head can order something to a body, are on the side of the ignorance of the body toward the suppression of body, ie the repression itself. Flo