- VISIBLE AND INVISIBLE MANIPULATION
- Mentors : Camille Trouvé, Brice Berthoud and Thierry Collet
The Company Les Anges au Plafond
The Company Les Anges au Plafond (= "Angels in the Belfry") grew out of a meeting in 2000 between the two puppeteer-actors Camille Trouvé and Brice Berthoud whose artistic language revolved around three major issues: the epic spirit, the space in question and the act of manipulating - visible or invisible.
Their performances explore the complex relationship between manipulator and object.
Nourished by the desire to recount intimate and spectacular tales, they transport us into life stories. From the founding Myths of Antigone and Oedipus to the contemporary Myth of Camille Claudel, or from the character in R.A.G.E., what animates them is that precise spot where the intimate meets the political.
Camille TROUVÉ. Puppeteer-actress, stage director.
Trained in puppetry arts at Glasgow, co-founder of the company Les Chiffonnières. With plastic artists and musicians, she carried out research on the relationship between image and music until 2006.
This work led to the creation of five puppet performances, including: La Peur au Ventre (2000), Le Baron Perché (2002) and Le Bal des Fous (2006).
Builder, handy-woman with strange articulated objects, but also puppeteer and actress, she is developing an original and offbeat visual universe as creations progress.
She worked as puppeteer-actress in Le Cri quotidien, Une Antigone de papier, Les Mains de Camille and Du rêve que fut ma vie, and she staged Nuits polaires, Au Fil d'dipe and R.A.G.E.
Brice BERTHOUD. Puppeteer-actor.
Trained as a circus performer. He started out as high-wire acrobat and juggler in the company Le Colimaçon, where he created five performances combining circus arts and theatre.
In 1994, he met the company Flash Marionnettes from Strasbourg, with whom he created nine performances, including La Tempête (1994), Léonard de Vinci (1998), Les Pantagruéliques (2002) and Un Roman de Renart (2005).
His manipulation technique borrows from juggling in a certain way, given the dexterity and virtuosity with which he embodies new characters. He worked as puppeteer-actor in Les Nuits Polaires, Au Fil d'dipe and R.A.G.E, and lent his voice to over ten puppets. He staged Cri quotidien, Une Antigone de papier, Les Mains de Camille and Du rêve que fut ma vie.
Thierry COLLET. Magician
Contemporary magic has been undergoing something of a boom in France over the past few years. Thierry Collet is one of the foremost mentalists on the subsidized theatre circuit. His solid reputation in France's various national and regional theatres has been built up due to an average of around 150 performances annually.
For Thierry, magic tricks are not an end in themselves but an instrument of an author's intentions. These shows, which are both joyous and disturbing at the same time, question our freedom of thinking, and look into our need to believe. They question what happens when we consent to things and the way we submit to authority. "I don't do magic to make people fall asleep, but rather to wake them up." says Thierry Collet.
This workshop offers a laboratory aiming to challenge the puppeteer's act of manipulating by comparing it with that of the magician.
Strings, rods, shadows, black theatre, small mechanisms and trap openings or mirrors - the puppeteer's toolbox overlaps the magician's. They have the work of manipulating in common as well as the desire to disturb perception of the real with the audience's complicity.
But paths to success in creating this illusion are profoundly different. Do the audience members actually live the illusion or is it created with their consent? If the magician's technique is cloaked in the shadows, most of the time puppeteers work in plain view.
So during this workshop, we propose an exploration of these different language systems and the opportunity to seek a personal path relating "visible" manipulation and "secret" manipulation. The desired effect being to challenge the real and its so-called "normality".