Maryse Gautier
MARYSE GAUTIER
In 1990, after having worked for several years with a collective that produced and directed short and medium-length 16 mm films and photographic reports, she met Félix Lefebvre, Gilles Seclin and Jean-Luc Chanonat, at the Théâtre des Amandiers, who worked with Patrice Chéreau on lighting, after his partnership with Daniel Delannoy. This formative adventure led her to become assistant stage manager for lighting technicians such as Franck Thévenon, Dominique Bruguière, Patrice Trottier, Joël Hourbeigt and Daniel Lévy, in the theatre.Théâtre des Amandiers. She went on to become the assistant for Patrice Trottier and, at the same time, worked on creating lighting for theatre and contemporary dance. Her research focused on making light exist as a matter and on exploring the relationship between this active matter, spaces, bodies and words. This sensitive work acts on levels of perception and, by inhabiting the space, can transform states of presence.
She met Claude Régy who she accompanied, working on two lighting creations (“Paroles du sage”, “Holocauste”) and a variety of research workshops; the choreographer Régine Chopinot (“W.H.A.”, “Chair-Obscur”, “Non”, “Végétal”); Marcial Di Fonzo Bo (“La Tour de la Défense”, “La Grotta Di Trofonio”, “Eva Peron”, “L’Excès-L’usine”, “Copi un Portrait”, “Et ce Fût”); Élise Vigier (“L’Inondation”); Pierre Mailet (“Les Ordures”, “La Ville et la mort”); Ornella D’Agostino (“La Ballata D’Ell Errore”, “Capitombolo”, “Sospiro d’Inverno”, “Ninananna”); Jean-Marc Bourg (“Les Baigneuses”); Fabrice Ramalingom and Hélène Cathala (“Touché”, “Far, Implication”, “Cinq de coupe”, “Oui, Précipité”, “Si j’étais toi”); Loïc Touzé (“Si nous marchons calmement, souvent dans la forêt, dans les allées, les allées…”); Gilles Dao (“Un Gachis”, “C’était mieux avant”); Elu and Steven Cohen (“I wouldn’t be seen dead in that”) and Robert Lepage (“Macbeth”, “Coriolan”, “La Tempête”, “La Damnation de Faust”).
Sources : Maison de la Danse
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Updating : March 2012