The Book

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*In order to understand the creative vein of the Theatre of the Movement, we must ask ourselves about the notion of the theatricality of the movement and talk about the frontiers of the art of movement, the art of mime and gesture, and the art of theatre. All these dimensions inspire as much fascination, are as many vibrating and inspiring plates.

Through an experience of more than 40 years, Claire Heggen and Yves Marc, in sharing with many movement actors, have developed this broad notion of the theatricality of movement that transcends borders. The actor’s corporal practice between mobility and dramatic presence, the directors’ sharp gaze, their reciprocal dialogue and their utopias have nourished creation within the company. Thus, little by little, between sensitivity and reflection, creative research and the foundations of pedagogy and transmission have been constructed.

Among other things, Etienne Decroux’s approach to a body and dramatic actor remains the high point of their sensitive references. He paved the way for a theatrical genre outside the word, where poetic formalization is as important as narration. In addition to their own reflection on art, the authors reveal in this book the background of their backgrounds and experiences, through testimonies, transcripts of lectures or interviews and research articles. A detailed and commented theatrography allows to grasp the context. The remarks are enriched by a hundred photographs retracing the history of the Movement Theatre and illustrating more than 40 years of existence.

It is not that the movement tells poetry, but that it is itself poetic. Etienne Decroux

The Authors: Claire Heggen and Yves Marc
Authors, directors, creators and teachers alike, Claire Heggen and Yves Marc are co-founders and co-directors of the Théâtre du Mouvement, which has produced more than thirty shows. Beyond a conception of the mime combining Etienne Decroux’s legacy with their own vision of theatre, they infuse their know-how and know-how on stage, throughout France and abroad. Pedagogies, they are called to give lectures and other lectures to performing artists, in the four corners of the world. They run a professionalization program, “The Body on Stage”, through internships and trainings in their theatre company, and accompany artists’ creations.

With the complicity of Patrick Pezin
A comedian and creator, he creates about 15 plays. He created the theatrical review Bouffonneries, which continued from 1998 in the collection «Les voies de l’acteur» which he directed at L’Entretemps editions. Founder of the Institut International de l’Acteur, he is the author of the Livre des exercices à l’usage des acteurs (L’Entretemps, 1998).

Preface by Ariane Martinez
Lecturer in theatre studies at the University of Grenoble Alpes, she teaches the history and aesthetics of staging. She works in particular on interference between theatre and other performing arts (mime, circus, and cinema). She has published several books, including La Pantomime, théâtre en mineur (1880-1945), PSN, 2008, Prix de thèse de la Sorbonne Nouvelle, and Jouer (avec) la vieillesse, n°86 de la Revue Recherches et Travaux, 2015.

Interviews with Véronique Muscianisi
With a doctorate in theatre studies, she conducted research on actor training at the Théâtre du Mouvement from 2009 to 2015, combining an ethnographic approach and practical commitment. Co-founder of Cultures-Kairós – Revue d’anthropologie des pratiques corporelles et des arts vivants (MSH Paris Nord), she teaches at the universities of Paris 8 and Nice Sophia Antipolis.

A few words from Eugenio Barba, director, playwright, writer and founder of the Odin Teatret and the I.S.T.A, Ecole Internationale d’Anthropologie Théâtrale

“(…) It is a book of profound scholarly consistency. For the last two days I have not detached myself from your texts. (…) What a wealth of information, how many fascinating details. (…) Never, until now, have I found in a book such affinity of perspectives and transports for Atlantis of our profession, that submerged part that decides the effectiveness of the actor in his relationship with the spectator. (…)» Eugenio Barba