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     "39,90" after the novel of Frédéric Beigbeder         goback

scene aus 39,90scene aus 39,90

in the role of Enrique for the theater play «39,90»,
out of the book of Frédéric Beigbeder, for the Düsseldorfer Schauspielhaus.,
Direction:  Burkhard C. Kosminski (please visit !)
World premiere November 2000.

with

Thomas Dannemann:---------------Octave Parango
Artus Maria Matthiessen:--------------Alfred Duler
Thomas Meinhardt:-----------------------Charlie Nagoud
Klaus Rodewald:-----------------------------Jean-François
Tim Egloff:---------------------------------------Philippe
Windfried Kuppers:------------------------------Marc Marronier
Jean Laurent Sasportes:----------------------Enrique
Dominique Siassa:---------------------------Tamara
Claudia Burkhardt:------------------------Mrs Ward
SIlke Bodenbend-----------------------Sophie

Enrique is a very sick and pervers person who tells in the piece how much he enjoy filming secretly poor girls who had sex with a friend of his and just get the test result infirming them that they got HIV contaminated. A horrible idea and I imagine that if I had to tell this text in French, which is my mother language, I would have not manage to play it the way I did play it.
So I decided to play this character, not as a sick and pervers man, but as a charmant person who tells all that horrible text with a nice smile in a very innocent way; the result of it is that it sounded even more horrible and got a stronger effect of disguss on the public, which was the reason why the autor imagine that character.

In the play 39,90, the role of Enrique is definitivly not a big role but it has been for me my first step into the theatre world as an actor. Well, it is true that Pina Bausch’s dancers are considered by the public and the critics as being not only dancers but also actors. It is true that there are many acting and spoken scene in Pina’s pieces but in this kind of work, one plays almost always himself and most of the time speaks textes of ihis own composition. It is another thing to play another human being part and have a lot of text and dialogues to make him speaks through our own mouth and mind.
It was also highly interesting to notice the differences in the way how a dancer will get into a dance theatre piece (in the work with Pina) and how an actor will get into the play his working on. Wenn we started to work on a new piece with Pina, no words was talked about what will be the piece about and I am sure that even Pina herself would not have been able to say much about the piece she was starting. Only some compositions questions about all possible sorts of subjects and a total freedom in the kind of material we will propose to her. A very intuitive way of working, far way from any intellectual approach.
In the conventional spoken theatre, we have a text, a storyboard, a humanbeing with precise way of thinking and emotions. I noticed that very often an actor needs to know who he is, where he is and why he is doing what he is asked to do. Which is not the fact with a dancer who will first get into the scene, try it, enjoy it and maybe afterwords asked himself questions about who, why, and what.
Most of the time, a theatre play is telling a story. Most of the time, a dancetheatre piece is giving  impressions and images. There are of course also impressionnist theatre plays and dancetheatre pieces who tells stories.


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