SPLENDOUR AND LASSITUDE OF CAPTAIN IWATANI IZUMI

Marion Déperrier’s fury (like Iwatani Izumi’s) needs a performer who can truly inhabit it and bring it to life. It takes a strong presence, an actor who is well-versed in the secrets of his art and who knows the power of words when are imbued with movement. Collaborating with Keita Mishima makes it possible for he is an all-round actor in the Japanese tradition. He has an understanding of all aspects of the stage: textual, vocal, physical. This revival is not a step backwards; it is part of an on-going endeavour towards a theatre freed from complacent conventions. The multimedia and multidisciplinary qualities of Jean Lambert-wild’s work usually take centre stage. His approach is in fact one that weighs each medium seriously, without artificial hierarchy. There is no formula: collaborators and codes of representation are chosen based on the needs of each show. One has to be attentive, open to the needs of each project, able to create what doesn’t exist and build the unthinkable. Revisiting this text allows to expand on its ideas and to develop a form of physical expression (a rarity in France) in an on-going artistic endeavour that seeks to explore and perfect all the techniques of the stage, regardless of trends and conventions, in order to create a form of theatre that is both challenging and accessible - a current theatre.