Today I’m lucky enough to speak with the joyously wonderful actress
Tell us a little about your training,
I grew up with Jacques Demi and Michel Legrand. It’s actually “les parapluies de Cherbourg” that gave me the desire to do musicals.I attented the Paris school for musicals just after my baccalaureate. I studied there for three years.I got lucky because just after I graduated the director of the school put up a musical “Hairspray” and offered me a role in it.Then I did Symphonia, in the Festival d’Avignon. It’s an eco musical, to help kids get aware of waste and recycling.Then I auditioned and got a part in Kids Manoir II. This was a bigger show and had a run for 6 months. I did two seasons with that show.Now I’m working on Raiponce. It’s the second season. We’re moving from the espace Cardin to a much bigger theatre, the Theatre de la Porte Saint-Martin. It’s starting in October. Continue reading
In the series of interview, today I’m talking to a generous actor,
Tell us a little bit about your training,
I’ve always wanted to become an actor. I started when I was fourteen in amateur plays. It’s addictive. Once you’ve set foot you can’t get out. It’s like quick sand. My first role was Mr. Colin in Georges Dandin by Molière, a really small part, but I didn’t care, I had lots of stage presence and I loved it.
Then I joined an amateur company called La Rigole, directed by Jean-Jacques Bruni. This man’s had a real impact on me.
We were all teenager in his company, but he believed that this was not an excuse for slacking off. He was demanding with us, but in a good way. There, I learned to be truly rigorous with my work. And I believe his teaching worked well because at least two third of the people that were in that small amateur company became professional in the business, whether actors or directors.
At 23, I got into the ERAC, the Regional Drama School in Cannes. It was a wonderful training. Through that school I met lots of professionals and was faced with numerous dramatic approaches. I got to experiments with so many theatrical forms so that afterwards, I just had to choose which one suited me best. What I liked about that training is that, unlike a regular Conservatory where you only have one teacher and then people can see where you come from, there I left rich with experiences but being who I am with my qualities and defects. Continue reading
Today I am talking about acting, creating a company, theatre and education with actor
[©2013 F. Lis]
Tell us about your training and your profession:
I have always wanted to act, ever since I performed in a play in high school. After my A levels I auditioned for a state drama school. I did not get in.
As I needed to work, I did every possible odd jobs that were on offer, still hoping to be able to become an actor. One day I met an old friend from high school. He was studying at the Michel Grandval drama school. I followed him and trained there for two years.
After graduating I did a show with Philippe Benard in a tiny theatre in Paris. Over some years, we put up with Philippe various plays. It did not pay the rent but was enabling us to show our talents. We did that for about four years.
Today I am talking to actress and director ,
Tell us a little bit about your training and your work.
I trained at the Ecole Claude Mathieu in Paris. Straight afterwards I met a wonderful director called Jean-Philippe Daguerre.
With this Director I performed in various plays, like an adaptation of the tales of the Arabian Nights. I still work with him and I play mainly classical plays by Molière.
I started as a director by pure chance really. François Lis, an actor I had met on the Tales of the Arabian Nights, was doing an adaptation for theatre in education of a play. He was doing a run and asked me to come round and tell them what I thought about it. I gave them some advice and as they thought I was quite good they decided to keep me as director. So I moved into this position rather smoothly. I had always loved being “the outside eye” as we would call it at Claude Mathieu, that is the one who helps other actors make the best of the scene they have to work on, but I had never thought I had the makings of a director. François proved me wrong. And I have been lucky that actors come to me and ask me to direct them.
Today, I am talking to a multi talented actress about work, clown and language,
Tell us a little bit about your training and your work
I have trained at the Claude Mathieu drama school in Paris. I worked as an actress for a few years. Then I felt I lacked in something. I thought it was something physical. So I went to study at Jacques Lecoq school in Paris. After one year I went to London at LISPA to finish my training. I stayed four years in England, and worked as an actress over there. I worked in devising theatre and also performed in more classical plays.
Then I moved to Spain to follow the man I love.