Believing in wild beasts

As with painter Pierre Soulages, where light springs from black, Laure Werckmann plunges solo into the darkness of Natassja Martin's autobiography, Believing in wild beasts. The anthropologist recounts her metamorphosis after being bitten in the face by a bear in Kamchatka. Following the fil of this repair, interweaving time and the traces formed by her memories, the actress creates a new space from her writings, research and dreams. Prosthetics, make-up and costumes allow us to apprehend the author's reconstruction through hybridization with the other. This second show by the young Lucie Warrant company pursues a project aimed at revealing new female figures, heroines of metamorphosis. She summons up the trouble of transformation as much as an animist mythological entity - the miedka, the half-woman, half-bear being of the Evene people of the Russian Far East - the one who stands between worlds, the only one able to guide her towards a new self. " I would like Believing in wild beasts or a show about repair "confides the director. " Repairing the injured body. Repairing the human/animal relationship. Repairing broken, erased time. Repairing the parent/child relationship. Repairing the actor/spectator relationship. The reparation of dreams / reality. The reparation of life / death. The repair of savagery/civilization. "

Visit Compagnie Lucie Warrant is founded in Strasbourg in 2019 by Laure Werckmann. Nourished by 25 years' experience as a stage performer and a teacher, the actress is keen to bring her directing skills to bear on the core of her profession, the actor's gesture. She started out at the Théâtre du Peuple de Bussang with Philippe Berling, before taking part for three years in the collective adventure and community utopia of the Edvin(e) company, with Eric Ruf. She continues to work as a performer with directors such as Gilles Bouillon, Laurent Crovella, Catherine Javaloyes, Éric Lacascade and Noémie Rosenblatt. She also cultivates a close relationship with contemporary writing, initiated as an associate artist at TAPS, organizing Les Actuelles, and developed through the texts of living authors she performs: Claudine Galéa, Daniel Keene, Ivan Viripaev... Frédéric Vossier offers her the monologue Pupilla about Elizabeth Taylor. With her young company, she works on the link with the audience through emotion, and stages her solos around new female figures: the novelist Nane Beauregard in I likebut also Reborn about Marion Bartoli and a forthcoming creation about Holocaust survivor Marceline Loridan-Ivens.

www.luciewarrant.com