Tuesday, April 01, 2008

Rehearsing for 21:13

This is some, fairly sketchy, footage of a 21:13 rehearsal. The ideas in this film are preliminary attempts at finding physical transpositions of the struggle we have to connect with others when we don't share the same language.

Les Jeudis

Here are two of the pieces I perfomed at the Pompidou Centre as part of their Jeudis.

The idea behind the project was to try to take something from the works, be it the colours, the dynamic, the themes, the space, and transpose them into a short passage of movement. We then performed them in the rooms, in front of the works themselves.

The first is based on the works of Christian Boltanksi. It is concerned with memory, loss and the effort to pin down a 'true' self.

The second is based on 60s French Pop-Art. The room is filled with images of espionage, bright colours and grand attitudes, all of which we took as inspiration.

Saturday, March 29, 2008


Horsing around for Mystere.

"Theatre des enfants" Jos Houben

Tuesday, June 19, 2007


The LEM end of year show is coming up this thursday. It has been loosely inspired by Satiricon by Petron and tightly inspired by all the work we've done this year. The pedagogy of LEM is more or less how you can best use space to your advantage when designing and performing on stage. Hopefully this will explain it a little more, it is a character Valentina and I designed based on Trimalchio, the vain host of an enormous feast:

Thursday, February 22, 2007


Happy New Year blogfans. Apologies from us all for the lack of blogging in 2007, but, by popular demand (Lucy Blake), we're now back! And back with a new year's resolution to keep blogging. Happy New Blog!

Thanks to all our visitors this year too: Martha and Jonny and Agata and Cags and Daniel and Izzy and Lucy. It was lovely to see you.

Here's a sneaky peek at some masks in Paris. And keep your peepers peeled for Jenny Lee's forthcoming comic, it's sure to be wowful.

Sunday, December 10, 2006

Tommy and the Tree

Thursday, December 07, 2006

Big Phil

Our Christmas tree has just gone up in the apartment and Tommy and Jay are softly murmuring carols in the other room. Gather round for the story of Big Phil Gaulier who punishes me with physical torture 'fit for Jean-Marie Le Pen' if I am 'orrible on stage, tells me, on a regular basis, I am so bad I should be made into a British sandwich for the imperial lions and has taken to calling me a Mormon. The days when I am 'not so bad, eh, surprising' are the best of my life.

The first month of school was spent with ‘Le Jeu’, discovering the pleasure of having fun, the infinite freedoms of imaginary games and the importance of winking at the audience as if to secretly invite them home with you to eat caramels. Here we try to abandon our ‘shitty ideas with their sell-by dates which give rabbit fart pleasure’ and learn about the importance of breaking the audience’s watches, not their balls. One day I come to class and am asked to save my life after losing a game of musical chairs by snorting like an elephant who hasn’t had sex for forty years and who has just burst into a brothel. Another week I am in a cabaret bar singing Ella Fitzgerald whilst intermittently being asked to raise my eyes to the heavens and calmly recite ‘Mummy, Daddy, look at me, I am onstage and I am fucking boring.’ Complicity, pleasure in the ridiculous and the conviction that the theatre is as serious as a child’s game are paramount.

We are currently working on Greek Tragedy, having spent the past few weeks with the 'Neutral Mask.' This is where I would put on a leather mask and roll around on the floor like a maniac pretending to be Alka-Seltzer or fire: ‘head up Jennifer, my god! Worst student, you get zero!’. With Greek tragedy when we die we say ‘fuck you god, I am going to my destiny dancing and I am so happy about it.’ Here we try to show our soul and our passion, ‘not something artistic made for old ladies who got menopause in Vienna.’ Our ‘aura’ has to be huge and beautiful, not ‘boooooring’ and realistic, ‘Jennifer, get rid of that Stanislavski stick on your head and up your bottom, we are not in the actor’s studio.‘ The importance of having a ‘fixed point’ is also beaten into us: ‘Jennifer, don’t run about the stage like a boy scout on heat, you get the prize of the plastic spoon.’

Every day we are taught the theory that the possible flop is part of the sensitivity of the best actor, his secret, and the reality that when it comes it is always painful. We try to discover in which ways we will be loved as actors and to be sure in our heads that the stage is our kingdom.

Sunday, November 19, 2006


We are in our new flat!

Last week we weren't. Which made it difficult to sleep on account of not having bedding, walls or a roof.

We were sleeping on the floors of friends or in horrible hostels, spending lots of time reading in cafes, negotiating and arguing and begging with lawyers in France and an eldrely woman in Washington.

But we moved in eventually, in an irony as snugly fitting as a Jay Miller cardigan, at 7pm, Flat Night. Just in time for Beer o Clock.

All's well that ends well.

PS. When people told me I'd be spending each night in a different bed in Paris, I didn't expect this! Thank you, thank you, thanks.