Last Wednesday I was in Cangey near Amboise to play in the “Neige” play produced by the association La Simplesse. I told you about it in June 2018 during the creation of this musical tale after Maxence Fermine and directed by Mario Gonzalez. Wednesday was the fourth performance and finally I was really doing Mime!

Fourth performance of “Neige”

Finally some real Mime

During the first three performances, Mario Gonzalez had given me some text to say, when I was planned as a Mime artist. My physical expression was below my verbal expression. I often perform verb shows with authors such as Jacques Prévert, Philippe Caubère and most recently Laurenzaccio after Alfred de Musset and George Sand, I like. But I also find magic short films where I say nothing as in Phil for example. For this remake, I wanted to go back to the sources and proposed to Simplesse not to say anything at all…

I presented to the whole troupe my “score” of Mime, a make-up inspired by the Japanese theatre Kabuki. To my great delight all my proposals were validated. I was thus able to move silently from the beginning to the end of the show. Small precision: I was far from being in silence, which also pleases me. Because it’s a musical tale, so there’s Adeline de Preissac on harp, Yumiko Tanimura on vocals and Éléonore Seguin on storytelling. All of this is set in a box of shadow puppets created by Coline Gaignard and set by Daniel Cloué. “Neige” is indeed a very complete show!

Soon “Neige” in video

I will share a video with you very soon so that you can see the result. Indeed, the videographer Noluen Enout made the capture of the performance with a full house. A very nice success to make the countryside and the cities of Indre-et-Loire come alive. All the conditions were there for a beautiful trip to the land of the rising sun!

Last July, I had the pleasure of being present at the Royal Monceau Raffles in Paris to participate in a photo session. I was with the model Ginta Lapina under the lens of photographer Olaf Wipperfürth. Here is the result!

Today I reopen a little the archives of “Le Bateau Ivre” company with the play “Le Pays de Mère Nature”. It is a Mime show for Young Audiences that I wrote and performed with Guérassim Dichliev. At the Mime Marceau school from 1993 to 1996, we were in the same class. We have often worked together during these three years of study of the Mime, under the benevolent guidance of the Master. At the end of school we played from 1998 to 2005 the show all audiences: Duo Choc de Mime. I’ll post here some videos. Yves Carrière, the set designer of “Le Bateau Ivre”, pushed us to create a show for young audiences. With Guérassim, we have therefore created a show around ecology and the four elements (air, water, earth and fire) which unfortunately has only been performed 8 times between 2001 and 2004. It seems that at that time, ecology did not attract programmers! The production was directed by Anne-Marie Laussat. Here is the Teaser for today:

I told you about Yohann Perchoc’s short film “La Baguette” from the beginning of the project, during the shooting and during the first screenings. Today I am happy to present you the short film in its entirety and wish you a good film!

“La Baguette”
Short film directed by Yohann Perchoc

With Philippe Pillavoine, Coralie Lescouzères, Thibaud Chaufourier, Jean-Noël Allain, Tien Vuong Nguyen, Saïda Djoudi.

Director: Yohann Perchoc and Daniel Afonso – Image: Jimmy Boutry – Adrien Nahra – Alexandre Viollaz – Electricity: Lucas Palen – Elise Lausseur Governance: Jean Baptiste Muffat – Make-up : Estelle Martin – Production : Yohann Perchoc – June 2015.

“Give power back to the word!” Don’t worry, it’s not a cry of despair from a Mime artist. That’s just the title of the corporate video I was playing in a few years ago. But since I just discovered it while surfing, I am happy to share it with you. This was my first shoot with Chief Operator Pierre Berthier. It was for the Chaïkana company. The film is directed by Charles Hennequin for Belinda Media. I wish you a good viewing!

I am happy to give you some fresh news about my exfiltration. By “exfiltration” do not mean a fearful escape like a president who has prepared his helicopter on the roof of his house. I accept confrontation (which is the cure for violence) and diversity of ideas but cannot bear to be a “product” without my knowledge. So I took back my digital hygiene. For the last year and a half, I’ve been calling via a FairPhone Open, my cloud is hosted by La Mère Zaclys. I am now more present in Mastodon, PeerTube, Pixelfed and Diaspora*. Then recently, I am a contributor and member of Open Street Map and I am pleased to present you my new map of my show and entertainment services which replaces that of G*****.

I wish you a great discovery of this mapped retrospective and a great summer 2019!

With “Le Bateau Ivre” before to start a series of Mime performances in Paris (75008), Saint-Père Marc en Poulet (35), Cergy (95) and Levallois-Perret (92) for me, we are working on the company’s video archives. Here’s one last one found and mounted! This is a complete performance of Mr Alone in “Marche dans les nuages” at the Espace Saint-Jean showroom in Melun in 2011! This was the third performance of this mime play directed by Anne-Marie Laussat. I wish you a good representation!

The people who follow me on Mastodon know that I have been in the Greenland family for at least six months already. I have already shot in three sketches, for my greatest pleasure and that of the viewers I hope. As one of them is broadcast on the Y channel of the Principality, I am happy to share it with you. This is Taxi 2.0 made by Yannick Privat. Under his direction I also played in the Pub against the Gastro. My third participation was for the hearing of President Micron. If they are posted on their channel I would not hesitate to share it with you here. For now hang on here is Taxi 2.0 !

As a bonus there is the “Pub contre la chiasse” (also directed by Yannick Privat) where I make a very small but no less present appearance:

Here it has arrived and is posted on PeerTube. I named “Laurenzaccio”‘s Trailer, a clownish tragedy directed by Mario Gonzalez. It was edited and filmed by Jean-Pierre Villaret and Bruno Souverbie (Phase-B). It is a recording of the first performance at the Théâtre de Chaoué Port Belle Eau in Allonnes. I’ll let you admire it:

The show is now available on tour. This is the presentation page on SilenceCommunity.com: https://frama.link/laurenzaccio-en-shop.

Let yourself be told the true story of Alexandre de Médicis, by the clown Laurent, played by Philippe Pillavoine and directed by Mario Gonzalez. The facts were reported by the historiographer Benedetto Varchi around the middle of the 16th century. In 1830, George Sand took the event back to make it a historical scene entitled “Une conspiration en 1537”. Three years later, she offered her work as a gift to Alfred de Musset, the lady’s lover at the time. “Lorenzaccio” was born of this generous gift. 
Alexandre de Médicis lived in 1536 in Italy, in Florence, the superb, the mythical. Emperor Charles V and Pope Clement VII (legend had it that he was Alexander’s father) had imposed him on the Florentines by proclaiming him Duke of the city. At the age of 26, he reigned as a tyrant who also wanted a people who “held themselves wise”. He had a lot to do between the great Florentine families who were plotting for his overthrow and the students who were demonstrating for a new political regime. In a word, vigilance was required to govern this seditious people who were eager to regain their sovereignty. Alexander did not gouge the eyes of his political opponents, he hung them. Alexander did not tear the hands of his disgruntled and hateful protesters, he took them alive, sometimes even poisoned them. To protect him, Alexander also had a man he trusted. His name was Giomo. With the ducal blessing, the latter possessed more than extensive power. Giomo could do anything he wanted to do, even killing a subject, without even knowing why. In order to prevent any popular uprising, Alexander also monitored his population, but through the eyes of the German soldiers paid to Emperor Charles V. 
In great idleness, as his aristocratic class wanted, Alexander hunted, feasted, deflowered at leisure, but above all played a cruel game that he favoured among all: humiliation. Alexander considered his constituents as mere objects that he had to possess in their deepest intimacy. This treacherous and insidious humiliation had a devastating impact. It allowed him to enslave the Florentines with formidable efficiency. She annihilated among her opponents all thoughts, all desires, all desires for insurrection. At least he assumed so. Because, in the shade, some rebellion centres were smouldering. A few embers were only asking for a wind of revolt to set the whole duchy on fire. The idea that “fools lived behind the walls of the palace” crept into the minds of the clear-sighted and awake spirits. 
Because of his vanity and a certain feeling of over-power, Alexander lost vision, lucidity and awareness. He could not see the shadow of the sketch of the beginning of the beginning of the beginning of a discontent. He could not smother any fires he ignored, denied, yet coiled close to him. With determination, Alexander was frantically running for his loss.

Let yourself be told the true story of Alexandre de Médicis, by the clown Laurent, played by Philippe Pillavoine and directed by Mario Gonzalez. The facts were reported by the historiographer Benedetto Varchi around the middle of the 16th century. In 1830, George Sand took the event back to make it a historical scene entitled “Une conspiration en 1537”. Three years later, she offered her work as a gift to Alfred de Musset, the lady’s lover at the time. “Lorenzaccio” was born of this generous gift. 
Alexandre de Médicis lived in 1536 in Italy, in Florence, the superb, the mythical. Emperor Charles V and Pope Clement VII (legend had it that he was Alexander’s father) had imposed him on the Florentines by proclaiming him Duke of the city. At the age of 26, he reigned as a tyrant who also wanted a people who “held themselves wise”. He had a lot to do between the great Florentine families who were plotting for his overthrow and the students who were demonstrating for a new political regime. In a word, vigilance was required to govern this seditious people who were eager to regain their sovereignty. Alexander did not gouge the eyes of his political opponents, he hung them. Alexander did not tear the hands of his disgruntled and hateful protesters, he took them alive, sometimes even poisoned them. To protect him, Alexander also had a man he trusted. His name was Giomo. With the ducal blessing, the latter possessed more than extensive power. Giomo could do anything he wanted to do, even killing a subject, without even knowing why. In order to prevent any popular uprising, Alexander also monitored his population, but through the eyes of the German soldiers paid to Emperor Charles V. 
In great idleness, as his aristocratic class wanted, Alexander hunted, feasted, deflowered at leisure, but above all played a cruel game that he favoured among all: humiliation. Alexander considered his constituents as mere objects that he had to possess in their deepest intimacy. This treacherous and insidious humiliation had a devastating impact. It allowed him to enslave the Florentines with formidable efficiency. She annihilated among her opponents all thoughts, all desires, all desires for insurrection. At least he assumed so. Because, in the shade, some rebellion centres were smouldering. A few embers were only asking for a wind of revolt to set the whole duchy on fire. The idea that “fools lived behind the walls of the palace” crept into the minds of the clear-sighted and awake spirits. 
Because of his vanity and a certain feeling of over-power, Alexander lost vision, lucidity and awareness. He could not see the shadow of the sketch of the beginning of the beginning of the beginning of a discontent. He could not smother any fires he ignored, denied, yet coiled close to him. With determination, Alexander was frantically running for his loss.

Philippe Strozzi, the patriarch of one of the great Florentine families, dreamed of a Republic. His son, Philippe, was plotting a government overthrow with the military assistance of Francis I, Charles V’s sworn enemy. The Marquise Cibo (a character invented by Alfred de Musset), with the implicit consent of her husband, by responding favourably to Alexander’s advances, was keen to change him. Thanks to her voluptuous promiscuity with the Duke, she imagined. 
But a more imperceptible home was smouldering in the depths of the soul of one of his close relatives. Alexandre shared with him his roof, his meals, his conquests (without any distinction of sex or age), his horse, even his bed. His name was Lorenzo de Medici. It was his cousin. Once a brilliant student who enjoyed science and the arts, he was also promised the throne. Unfortunately, we had preferred Alexandre, who was more of a weapons lover. 
Lorenzo was born with fierce jealousy, a repressed but no less blood-red anger. He intimately decreed that he was “although tyrants are killed”. Lorenzo started the mesh of his ambush in the dark. To gain Alexander’s trust, he played the mirror. He modeled himself after Alexander. Having become his double, he sometimes anticipated the actions and thoughts of the original. This unhealthy scheme led him to the Duke’s death but also to his own downfall. Lorenzo became vicious, cowardly, an object of shame (for his mother for example) and stigma. The people called him Lorenzaccio, Lorenzo the dog. Realistic about the true nature of humanity, he assumed that his political assassination would be useless. The Florentines were not prepared for a real and profound change. However, Lorenzo went to the end of his deception. This murder was his only salvation. He hoped to find a semblance of self-esteem, happiness and calm in the turpitude of his gesture. 
Feeling the coldness of the steel blade that pierced him, the Duke would have cried out “Ah ! Lorenzo, I didn’t expect that from you! “Refuting the betrayal, looking for the right word with panache, Lorenzo would have replied “On the contrary, you have been waiting too long for him! “Alexander dies, Lorenzo runs away, starting his crazy, long runaway. It lasted ten years and took him from Florence to Constantinople, passing through France and ending in Venice. His head was put under a price by the new power that had hastened to place a new Medicis on the throne: Cosme of his first name. Then on a dark day, a man came to the Door of the Palace of the Medicis. He claimed the “reward”. The story doesn’t say his name, his age, or where he came from. It is not known whether he was able to take advantage of the graces that his patriotic act promised him. Perhaps the tyranny of power has also overpowered him…

How many deaths in this clown narrative will you tell us? But don’t forget… this story is also a tragedy. The centuries have passed. Tyrants and protesters always behave in the same way. “When you do what you’ve always done, you get what you’ve always got! “The time has come to change the way we view the world, think, act and live. We need to transform a volcanic revolution into a glacial revolution. A real highlight when it comes to global warming!

We, hear the company “Le Bateau Ivre”, which produces and proposes this show, believe that representation and artistic practice can contribute to it. “Laurenzaccio” is for us a complete work of art. It deals with politics, subjectivity, personal development, violent and non-violent communication, class, conflict, cunning, sincerity, hypocrisy, love, hatred, youth, old age, generational conflicts, honour, life, death, the future and the past. “Laurenzaccio” was written by people who were diametrically opposed but who were united by art and love. Alfred de Musset was the worthy heir to a “bitter caste” (no pun intended). He abhorred the bourgeoisie who had decimated his aristocratic environment in the last century. His great wound is expressed in The confession of a child of the century “All that was is no longer; all that will be is not yet. Do not look elsewhere for the secret of our evils. ». Alfred, a child protected by his mother and older brother, gets lost in alcohol and debauchery. He changes his mistress at every Carnival. He is a “chameleon” lover who, in order to seduce, plays into the game of his prey. De Musset writes commissioned short stories to live and poems to stay in childhood. On a day of drunkenness, he raped his servant. It is subject to autoscopic phenomena. The poems Les nuits in particular will testify to this. His life feeds his poems. Then his works contaminated his life. Alfred would have loved to be a woman and at parties would gloat about dressing like them. From 1833, and for his entire life, he was marked with a red-hot iron by the lost love he had for George Sand. It is in no way like him and is rather his counterpart. She dresses like a boy and will have returned her love a hundredfold. George wrote to him, “There is one holy and sublime thing in the world, it is the union of two of these beings so imperfect. “Alfred will repeat these words in Don’t play with love. George was intensely offered to love. Very early on, she chose emancipation, freedom, autonomy, breaking with the patriarchal saying. She will have lived from her job as a writer. George, whose real name was Aurore, worked for the cause of women and then for the working classes. As in 1848, when power tyrannized the lower classes. 
This union of two such different and complementary personalities gives “Laurenzaccio” such a rich dimension of emotions, human depth and dramatic intensity that “Le Bateau Ivre” could not fail to offer it to the public. It would have been an unforgivable failure that the Melunaise company (which celebrated its 25th anniversary) could not handle! 

The company “Le Bateau Ivre” which has been producing my plays for more than 25 years has just invested in a new NAS. The capacity of the hard disk is enormous in order to allow the digitization of past theatrical creations. This is the oldest one we have filmed and that I just published on PeerTube. It is “La Crosse en l’Air” written in 1936 by Jacques Prévert created on January 13, 1996. The recording that you will be able to admire is signed Jean-Luc Dufour during the 30th performance on November 15, 1997. This was our first season at Espace Saint-Jean in Melun (77). The spectators were not numerous (about twenty) but of quality (admire the listening and participation!). It will only be in 2000, when we will do (after two years of work for that) a full house.

“La Crosse en l’Air” is my second solo performance. I was coming out of Mime Marceau’s Mime school and wanted as much physical and vocal expression as I did. With my gaze today, I find myself very well bodily, very rich and very precise. I was at the top. On the other hand, vocally, I am very approximate. I have made a lot of progress with Philippe Caubère’s Le Roman d’un Acteur (1998 – 2001) and today with Laurenzaccio.

“La Crosse en l’Air” is my theatrical revenge on a nationalist and fundamentalist universe. It is my artistic and humanist manifesto from my youth. My political break with the state was beginning to show. The Vigipirate plan had just been created a few years earlier. It was beginning to reduce our living space of movement and thought. There was also the Saint-Bernard church and the undocumented ones… “You don’t go into churches with an axe.” as The Wriggles used to say. At that time, there was no solidarity crime yet, but I already knew, like Lorenzino de Médicis, that “the fools are behind the walls of the palace.” ! I am a little harsh, but between 1997 and 2019, the only time I was proud of a policy was on February 14, 2003. Dominique de Villepin made his masterful speech to the United Nations Security Council opposing the Iraq war. In 22 years, a single brilliant political fact is a little light, all the same… Nevertheless, I wish you a good film: