15 Impasse du sabre , Bab Souika, 1006 Tunis
Theatre is the place from where one observes another one in action, therefore observation is one of the essential elements of the theatrical craft. Being of a very observing nature I started doing theatre searching to compose my observations into dramatic forms focusing especially on physical actions.
While verbal language is the principal method of human communication, I have chosen in my first production to work in a dimensional expression that goes beyond words, to the dream world where the imaginative and emotional expressions release. Bringing back theatre to his roots, that is a living experience of emotions. For that, I created Blead the Clown.
With this character I navigate with mixed identities, code-switching, investing the impulses in a vocal expression devoid of linguistic codes, in other words: Gibberish.
In a very spontaneous way I let impulses appear as vocalized sounds, as gestures or as facial expressions to communicate to the clown within the spectators and establish a live dialogue and cultural exchange without boundaries. I use a very original language that is common to the child in us all.
I englobe the spectators in a dream world through my gestures and manipulation of objects.
I use the power of moving images that communicate our current issues and use gestures as a valuable meeting point.
There are voluntary voids in the composition of the scenes. They are holes for the spectators to fill with their personal images, emotions, sentiments and so on. In this way they actively participate in the theatrical experience.
The composition is made to have different levels of perception so that each spectator completes the puzzle we propose with the storyline enrooted in them.
My innovative artistic practice that addresses important issues within their local context go against the main current of our conservative society and it’s institutions.