Theater and dreams were for a long time two passions that have inhabited me. The scenography arrived late. My career to become a scenographer is now based on the skills acquired during my various training courses. My studies in management taught me organization, team management and how to adapt. My training as an actor taught me the work of an actor, rigor and direction. The space design and scenography courses made me discover the basics of architecture: read a plan, make models and produce a technical file. For four years, I followed theoretical and practical courses at the University of Paris III - Nouvelle Sorbonne including one year at USEK (Lebanon), which trained me in the dramaturgy of space, to have a reflection and a general culture on theater and dance, reinforced by my work as an opener at the National Theater of Chaillot. My trip to Lebanon gave me new inspirations and a taste for adventure. As for my master's degree in scenography at the Manufacture, he supports me in the search for my universe.
I am currently working on a creation thesis around food in scenography. Theater is food that takes time to prepare with a list of ingredients. The texts are swallowed by the actors who make the spectators salivate. Through photography, I stage situations showing food as a scenographic object, and a playing partner, becoming a playful and performative material for the actor.
Also, this 2021-22 season, I am doing a construction internship at Ateliers de Vidy for the creation of Guillaume Béguin: les Nuits Enceintes. I am assisting the scenographer Jean-Luc Taillefert with the construction of his sets for Seule dans ma peau d'âne at the Petit Théâtre in Lausanne. With the 3 other scenographers of my class, we have carte blanche on the last room of the Sauvage exhibition at the Museum of Neuchâtel in December. In January, I leave for the Paris Opera to follow the work of technical director José Sciuto. Then I will assist the choreographer Mathilde Monnier and her scenographer Jocelyn Cottencin for a workshop at the Manufacture and at the Arsenic.
Thinking of the scenography as the partner actor for the staging is my definition. I emphasize the importance of telling stories, arousing the imagination of the public by the simple creation of aesthetic paintings, sublimated by light. Also, I appreciate the multidisciplinarity: the video that I use for the creation of installation, but also painting, sculpture, photography ... Materials and music are sources of inspiration, like my daily life that I observe a lot and try to sketch. The inventiveness of reality has an inexhaustible force of theatricality.
You can consult my portfolio at the end of the page.