I want to see what this thing I love so much is made of, to discover its own strengths. I believe it bears the potential for new forms of theatricality and is a real source. My work process is similar to a subtraction. I simplify the forms to make the forces easier to read. It is my way of contributing to the history of circus.
Shouldn’t this history imply the construction of a repertoire as is the case in dance, theatre and now even performance?
Through keeping an eye on the situation of circus today, I am trying to assess what the current challenges are. Circus finds itself in a very peculiar situation: its history is administered mainly from outside. Paradoxically, and despite benefiting from a great visbility, it gets proportoniately little funding. The threat is to normalise it. That’s why, within schools, I try to think about learning conditions so that a repertoire can emerge. In order to do so, people need to be more familiar with writing, they need to invent ways of writing that are adapted to the practice.
How do you proceed with your work?
We created our own company four years ago in order to create a continuous working process. A small team committed, like I did, by betting on the longevity. We try to think about our relationship with time. This is made possible by a tight link with the MC2 [Maison de la culture, a cultural centre]. We prefer an experimental, empirical process. We invent our methods as we go along, we don’t have preexisting ones. We like to start with drafts. Some will work on their own and turn into numbers. After four years, I can see something outlining itself, like a constellation of small forms all gravitating towards one essential notion: the suspension point. I tried giving this endless search a name: “Tentative to approach a suspension point”. I am very attached to the idea of experiencing a creation in its entirety. It’s first and foremost about extraordinary adventures. Every artistic project determines its mode, its way of existing.