The Theatre of Plastic Language

“At the start, as a student, I built the theater of plastic speech, which presented inert characters, figurines modeled on dolls with the proportions of young children, transgressing the figures of pupil and teacher at school. For example, four hybrid figures - the schoolboy warrior, the child pig, the child sheep, the warthog engineer - were staged, held at equal distance from each other, blocked at the threshold of all relations. Not cowardly enough to take a step backwards, and not brave enough to take a step forwards. This scene of plastic theater anticipated the dehumanization of relationships between teachers and students. The sets were painted, taped, written on, spread with jam plaster or marouflaged with lead paper, made up of stories and titles, screens, the green color of school boards, the floor covered with old lino. These scenes were also conceived in their fabrication as a liberation from small school equipment, creating an inverted pedagogical environment.

It's here, within these spaces, this environment, that I intervened by declaring :

_He who cannot speak, let him sing !

_ He who can't sing, let him whine !

Now, if I were to speak as a director, I'd say that in such a world (i.e. a world where there is no longer any contact, this society without links that I mentioned earlier, where communication has become the illusion of communication and culture the illusion of thought within knowledge) I interpret the last human being to seek contact. That the violence of speech combined with stuttering speech (which I described earlier as a syncopation of language) attempts to make works speak.

In other words, this word, once combined and pronounced in front of the works, through a genuine act of transmission, which I call “from the missing word to the current word”, playing the teacher's posture, served to make the stammering of the works heard at the beginning of their reconquest of language.”