La parola ai partecipanti dei laboratori inseriti nel progetto La terra trema. Il tema diventa pretesto per raccontarsi, esprimere la propria prospettiva sul lavoro del workshop e sul mondo in cui vivono e lavorano.
Intervista a Marc Clotet, dal laboratorio diretto da Jan Lauwers che lavora su Europa.
What are the metaphorical “earthquakes” you experienced?
I think the first “earthquake”, the biggest one you could experience is when you decide that acting is what you want to do for living, and that’s how you want to work in your entire life. It happened to me quite late, because I started to work as professional actor when I was 27. Before, I was into business administration and marketing, when I realized I was not happy; so, I started attending acting classes and there I found my passion.
Maybe the second “earthquake” is when you start to understand what acting is for yourself. When you are playing a role – on a stage or in front of a camera –, you have to live something everytime as the first time.
Then, there could be many earthquakes everyday. Now we’re following the Jan Lauwers’ course and he’s demanding us to do different improvisation, to work with our body, to go beyond what we know, to cross our comfort zones and express ourselves. You can always experience a little or huge earthquake inside you that can teach you something: for example, to live constantly in an earthquake.
What are the ideas you’re connecting with the word “Europe”, the subject of Jan Lauwers’ workshop?
I think there’s a controversy between two different ideas of “Europe”. On one hand, it can have a positive meaning: in the sense of something that gathers all together, making us living as one thing. On the other hand, maybe because of our differences, we are not helping each other to improve ourselves; it’s a fight of interests between countries, that are just seeing which one is going to win or which could be exploited (even to get more power).
For instance, we’re still having problems with immigrants, who die trying to reach what they think it’s their future; but we’re not helping them, and they’re just person like us.
What causes an “earthquake” inside and outside the theatre?
The two aspects are very related: it’s because you want to make an effect outside the theatre, that you are doing something inside it.
For me, theatre has to exist because it must move you, it has to make you feel something. As a spectator, I like when I exit from the theatre and something has changed inside me. I’m not a fan of those plays that are just storytelling: even if you’re working on a classic, you need to perform it in a way that touches the audience. I believe that theatre is interesting because of this possibility.
This kind of change is not a huge thing, it’s just a moment of poetry and art. Jan Lauwers talks about it all the time, trying to differentiate between performing and acting. He really likes to work always from zero, from the real truth. When you’re performing it’s like you are doing something, not acting; otherwise, if you’re acting you have to be real and sincere, but you’ve not to pretend to do something. That’s the hardest work for an actor: trying to make it 100% real, because if it’s not, it’s not interesting, it’s not touching, it seems something fake.
a cura di Alessandro Iachino