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For me my work is to unravel questions that we ask
ourselves individually towards a collective question.

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My work is directly related to my life

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and do I have found a way that it is good for me, to cope a little bit with the world, with life, to be able to understand together.

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My family was not wealthy then, so there are no
inheritances, nor sufficient documentation to know

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where I really come from.

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We don't have inheritances, we don't have houses,
we don't have old portraits of our family.

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And it is therefore an economic stance, too.

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From my mom's side I'm the second generation after the
generation of my mother and her siblings who knows how to write.

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My past is built from small tales and
the will to believe that this is the truth.

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It had to do with discovering, with finding out where I came from

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wanting to know my past has also been part of my work.

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From my point of view, or the way that I have worked. I wrote my texts and I direct in which way those texts are going to be said

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or how I am going to move my body or how
I present something that provoke reflection.

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And I act very little in the idea of representation.

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I like it. I like to do it. But speaking about freedom

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I am a free woman on stage with her
own work. There I am the freest.

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There does not first exist a text, then the
space then it is to fill that space with text.

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Those three parts do not exist seperately.
I can't think that something like the stage

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has to adapt to the text or the text to the
performance or the performance to the stage.

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I believe I think about it as a whole and interact with it as a whole.

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At drama school I was taught that I should
not use theatre to cure myself.

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I can't find the cure, or the solution in facing
a problem or in facing an existential doubt.

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For me the cure is that in theater; I and 120
persons we are thinking the same thing.

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The cure is the collectivity in this sense.

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The cure is not to solve, it is not that one
actress solves her problem, it is to share it.

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There I finde the cure. In being able to open
a topic perhaps heavy or taboo.

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So 120 persons or 500 persons.

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And to know that with 500 persons we all feel equally lonely
or that we feel in the same way with our bodies

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or that we also feel anguish not knowing where we come from.

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The theater is in the collective, in the
accompaniment, not in the individual.

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Being together. That's why theater for me is presence
and it's bodies - bodies together, thinking something.

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For me to be an actress is not only
to be limited to the work of representation.

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For me the idea of representation and becoming someone
else to adopt a character that you don't know yourself,

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for me it has always been a bit of a extraneous idea.
Because you never really stop being yourself.

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You act with what you know and you act with who you are.

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So in that sense I think, I believe. Rather, I'm absolutely
convinced that the power of acting,

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the power of being an actress or an actor,
is a social responsibility as well.

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I always think of myself dancing.
Like the body without the word. What would it be.

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As if the curtain opens. Or if the light comes on. What would I be doing? And many times I imagine myself dancing.

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And I write. Of course I do. I write a process diary of the process.

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All the processes are different because the themes are different.

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For example for the the second work I did I invented certain
strategies to be able to create and have material.

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What I am always interested in is to
generate an archive of my processes.

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I'm not going to be an expert neither in the fields of body,
nor am I going to be an expert in people who live alone

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It’s not about lecturing on a subject. All these materials
concretely serve me for something, for thinking.

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The archives are material that I gather

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from objects, photographs, stories, memories, or also experiences.

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So it's about putting together, putting together
blocks of materials or sets of materials

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that perhaps trigger me creatively, that trigger
something which I can pose on stage.

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It's like having a secret suitcase for a trip you want to make.

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Maybe not everything you pack in the suitcase will
be useful but it's important that it's in that suitcase.

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And I think a lot about the processes, about those black boxes that are sometimes much more important than the scenic result, right?

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Capitalist ideas against an intuition
of life, life and capitalism collide

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and in this clash, in this fracture,

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for me, this is the terrain.

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For me my theater is to say: this is not true.

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It is not true. We don't have to worry about
not complying with these social norms.

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Now that I'm talking about loneliness.

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It is not true that I'm a bad woman for living alone, or
for not being married, or for not having children.

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It is not true that I am worth less. It is not true that a body outside the standards of beauty is a body that is worth less.

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It is not true that if you don't have a dad, a mom and
a functional family you aren’t made for the world. It is not true.

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So my theater maybe is this.
Maybe it is a constant manifesto about living.

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My outlet is theater.

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And there I find my voice and I find a way to make alliances.

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I go to the theater to say what is not right in the world.

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I am not interested in being remembered as an
actress the plays are forgotten, the plays die.

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It is not for me to be an actress or
for my acting ego or for my artistic ego.

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I really do think that in thirty years, if someone, if one
person in thirty years tells me; "I have seen your work

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and it changed the way I look
at something, they way I think..."

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Then I would be good.

