fbpx Biennale Teatro 2018 | Vincent Thomasset - Lettres de non-motivation
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Vincent Thomasset - Lettres de non-motivation

(2015, 60') Italian premiere

concept and direction Vincent Thomasset
written by Julien Précieux
performance David Arribe, Johann Cuny, Michèle Gurtner, François Lewyllie, Anne Steffens
assistant director Brune Bleicher
set design in collaboration with con Ilanit Illouz
lighting design Annie Leuridan
sound creation Pierre Boscheron
music Pierre Boscheron, Vincent Thomasset
costumes in collaboration with Rachel Garcia
general direction Vincent Loubière
production Laars & Co
co-production Le phénix scène nationale Valenciennes, Festival d’Automne à Paris, La Passerelle Scène Nationale de Saint-Brieuc, Théâtre de la Bastille - Paris, La Bâtie - Festival de Genève, Théâtre Garonne - scène européenne - Toulouse, Les Spectacles vivants - Centre Pompidou, Le Grand Sud - Lille
with the artistic participation of the Jeune Théâtre National
This production was later performed at the Théâtre de la Bastille and enjoyed its technical support
with the support of Arcadi Île-de-France, DRAC Île-de-France - Ministère de la Culture et de la Communication
with the support of Le Centquatre - Paris, Centre Culturel Suisse-Paris
thanks to Stéphanie Airaud, Patrice Blais-Barré, Marguerite Bordat, Philippe Busseneau, Frédéric Chartiot, Vincent Drouot, Julie Dutoit, Sophie Dutoit, Vincent Gadras, Marion Guilmot, Anaïs Heureaux, Lise Leclerc, Anne Lemoine, Stéphane Luchetti, Caroline Marcilhac, Anne-Cécile Neurisse, Procédés Chénel, Nadège Sellier, Sylvie Tranchant, Jean-Philippe Valour
Special thanks to the group of people who applied for the auditions


Director's statement

Of the three productions I will present, Lettres de non-motivation appears as an exception. Created in 2015, the project was a response to my desire to work for the first time on texts which I did not write. By selecting the project by artist Julien Prévieux, I do not bring the work of a playwright to the stage, but a mixture of heterogeneous materials, written or spoken, which are also an exploration of language. Furthermore, this offered me an opportunity to explore the art of theatre, with a team of actresses and actors with very different backgrounds, selected at the end of a long-term audition process, whereas up to that point I had worked mostly with dancers. Though these letters were not written for the stage, they embody everything that constitutes theatre. This is the result of the nature of the process that was set in motion – to thwart the bonds of power intrinsic to the world of labour, taking on different roles – and the diversity of the writing, the multiplicity of languages, the abundance of characters, the infinite possibilities, both in terms of mise-en-scène and interpretation, all at the same time. The central concept is labour, and as a corollary, constraint: how to keep within the limits in order to move past them, and then, as far as possible, to break away from them completely. The spectator accompanies a community of performers who do their best to get inside the various characters and the various poses proposed by the texts.

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