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  • Hippolyte Broud

Manifesto

Updated: Sep 18, 2018

Working on our first production, ‘Encore Encore!’ is first of all an attempt to strengthen our abilities as performers, to get rid of traditional themes so as to tackle more fundamental problems concerning the art of acting. We root our practice into a very post 1968 conception of what the rehearsal room should be following the path initiated by early collective like CIRT, Grand Magic Circus and Theatre du Soleil.

  • We want the performers to create and not to translate the views of a director

  • We Consider the rehearsal room as a training/research space when we would learn about theatre by interrogating theatrical traditions in our practice



During a performance at The Old Red Lion Theatre


It is also a first attempt to find a new form directly accessible to our contemporaries but which is intimately entwined with theatrical traditions. We are looking for a spectacular form that is popular, that is to say ‘beautiful’ and that speaks to the audience directly.

- The practice of clowning and drag allows us to keep a constant sense of playfulness and to focus on the performative side of the work. Whatever we are going for, our key words is ‘having fun’!

  • Mixing faded theatrical traditions with pop culture is our trademark as a way to create a dialectic relationship that allows to interrogate the two topics.

  • Lip-syncing to movies and songs allows us to use texts from these two media and to put them in another context in order to create new meaning.

  • Following Artaud’s concept of ‘metaphysical theatre’, we consider the ‘theatrical moment’ as a process where everyone is essential but no one should be central.



We want our work to go beyond the questions of aesthetics and to have a broader impact, particularly toward the subjects of gender and identity

- We are constantly talking about the concept of ‘the other’ through our use of clown and drag personas who are inherently aloof figures.

  • We are playing with the images of masculinity and femininity making our three androgynes characters changing gendres though costumes and lip-syncing.

  • We are dealing with the question of hidden identities by playing with superhero tropes


Our work is in continual process and we hope that the statements listed above are progressively becoming clearer though we are engaging with more public performances and work in rehearsal room.



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