By Claire Heggen
The actor must show his art without showing his person. Etienne Decroux, Words on mimes
With the crossing of the body and object, Claire Heggen dismounts, watch and shows the close relationships which the actor, subject and art object maintain, with the art object, on standby to become prone article.
– How to be prone and art object?
– How to objectify the body of the actor?
– The theatre of the movement: a transversality with work between subject and art object, real body and fictitious body, concrete and/or abstract human figure and appears marionnettic.
– The question of the body with the École Nationale Supérieure of Arts of the Puppet and for the puppeteers (a specific training; handling at sight; the body castelet; the introduction of the practice of a gestural actor or a dancer into the relation actor–puppeteer with the object…).
– “Bias of the things”:
- The example of Still a so short hour, part of the Theatre of the Movement created in 1989.
- Small grammar illustrated for the use of the object, the actor (puppeteer, dancer, mime, circassien) and of the spectator: concept of service; the relation with the other, and its articulation in time and space;material imagination and metaphorical game; analysis of a dramatic sequence and its various reading levels.
– Subject and/or object? : Bodies with work.
Language: French and English