Transmission

educating methods. It’s to be "between the extracted secret and the freed knowledge"*. But it’s also reconsidering the pulse, sometimes interrupted, between generations, ideas and groups.
In the dance of passing on many representations are at stake, questionning at the same time the student, the apprentice, the speaker, the participant, the teacher, as well as the politics, the institutions, the parents, or the sociologists.

Who learns from who?
And what does the teacher learn from the student?

Dérézo, accepting the complexity of being between the teacher, the student and the parent, wants to set up an intention of emancipation. A movement centered on the text and the speach, the body and mind, the space and rythm, in how they are displayed for the hearing of an audience. Such canonic entities of theatre still don’t limitate the representations and their avatars.

Always vigilant for theater to be a tool and not a goal, we cultivate the theorical and practical grounds and their limits within a workshop or a masterclass. We wish to distinguish the student from the apprentice, the apprentice from the professional. In doing so we refuse the instrumentalization of theatre.
Within the company, to keep learning, we organize a few times a year worksessions with specialists: martial arts, dance, ingeneering, philosophy... Transmission is also sharing our art and our research.

It is putting our presence in perspective, our necessity to remain in theatre.

Thats how we sharpen our eye and create bridges.
Thats how there is movement in our ideas, our artistic gesture, our propositions; and how we fill our shows.

Because the world is in revolution, we jubilate with it – aware that each era has its own art, aware that we are the present bridge between the representation and the people, between those of yesterday and those of tomorrow.

Passing on is teaching how to trigger a particular listening to oneself, and so to the world, and so to others.
*Georges Banu