I took my first steps in tragedy with Lady Anne in Richard III. By working with this language, which is as poetic as it is brutal and rich in metaphors, I discovered different worlds, both hellish and wonderful. When I played Juliet under the direction of Éric Ruf, I discovered the subtle humour, the quick and funny little lines that are fun to spot. These abrupt shifts make the characters go from one thought to another without a care in the world, and the actors from clown to monster. Éric Ruf asked us to let the events pass through us like successive waves without ever anticipating the story, and he was right, the poetic and infernal force of the language carried us along, light or unrelenting by turns. Shakespeare is like a pilot taking his audience to different places. Perhaps he was the one who invented this way of taking the audience by the hand to make them laugh and then the next moment make them reflect on having laughed the just before... And the actor feels that he is making this connection with the audience.
Combining rigour – that of trying to stick as closely as possible to the text – and the playfulness of this exercise where the actors like to try out different things, the reading has incredible charms...
The table is a field of exploration. A convivial space. A miniature theatre stage. Reading at the table allows us to grasp, for the duration of a performance, what a text can reveal about itself without artifice and what is most creative in an actor when he has to jump into the void with the text as his only parachute. I would never have become an actor or a spectator without school, without the ‘seniors’, the professionals who took me by the hand. When I perform, I always think of the young people in the audience. Transmission is the starting point of my passion for theatre.

Suliane Brahim

Avec le généreux soutien d'Aline Foriel-Destezet, grande ambassadrice de la création artistique
Avec le mécénat de François Jerphagnon
et d’Allianz France