Charlot Lemoine and Tania Castaing offer image-based shows, thinking with other creators that if the actor can interpret a word, a sentence, he can also interpret an object or a series of objects. The emotion arises from the fragile relationship that the actor establishes with the objects he brings to life on stage. The public is invited to enter into the intimacy of this relationship. A new vocabulary, a new mode of expression is born: « Object theater » of which Vélo Théâtre is one of the precursors in Europe. In a vast theatrical landscape, the Vélo Théâtre has imposed a strong artistic signature, unique in France and in Europe.
Charlot Lemoine and Tania Castaing offer their sensitivity and their artistic view to the companies that Vélo Théâtre hosts in residencies and they communicate their experience in a more formal way during professional training courses, in France and abroad as part of their tour and programs of artistic and cultural cooperation.
The master class for professional artists
Who plays: the actor or the object?
The object has become the central element of our accumulation society. This manufactured object, made in china, the one we all have at home represents our common culture. Its entry on the theater stage involves another relationship to theatrical practice. The Object Theater is definitely a European theater. It takes root in the history of our old Europe. While the tool of a man not returning from the First War becomes trinket over generations. [eg; the wooden fork exposed on the wall of the dining room represents the farmer’s grandfather then gradually loses its link with the grandfather]
The Object Theater object is not an accessory made for use on stage but is an object to tell the story in its own way.
It thus imposes a new level of reading of the text. [A weather vane evokes Macbeth’s indecision. A cigarette lighter horse tells the blaze of power]
The object organizes the theater space in its own way. The object is the center of interest of the actor, it is active but can stay on stage and be forgotten. It then becomes inactive while still being seen. In this way is different from the puppet. Object Theater calls for a dramatic writing and a sense of space that we could call Brechtian. It is also nurished without complex, by the cinema, the visual arts, the dance and the theater. More and more artists are in demand of formation for this singular type of theater. It allows, following the poetics of each, to put the objects in relation with each other and with the actor.
The object theater is a writing machine. As a starting point this Master-Class will begin on the stage and will ask the participants to become actor-authors. Far from transmitting a technique, the master-class will have as a principle to exercise the creation of a sensitive poetic universe reinforced by the close bond between the actor and the object.