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Clémence Weill

Actress, director and playwright, depending on the occasion. Her training includes performances and studies at the Claude Mathieu school and also with Jean-Louis Hourdin and Matthias Langhoff (to mention just two).

For a time she adapted/created L’Opéra du Dragon (H. Muller), Mars (F. Zorn), Measure for measure (Shakespeare), Une fable sans importance… And she even directed L’histoire de Melody Nelson with J. C. Vannier at the Cité de la musique, which was a madcap adventure.

One unremarkable morning she began writing. Ever since she has asked her fellow citizens about the big themes that we all find hard to get our heads around (the economy, beliefs, democracy, borders, Europe… these kinds of things). They are the source of the plays mentioned below, some of them published and others performed.

She travels near and far, through Athens or the French countryside.

She co-founds or works with protest groups and artisanal iconoclasts, often creating hybrid, committed forms that don’t take themselves very seriously. We can mention affectionately and randomly: Des Clous dans la tête, the club of playwrights ACMÉ (collaborative writing), L’Invention de moi (L’éphémère saga), L’Atome (Julien Avril), Cécile Tonizzo and Le Discours de l’incertitude Volontaire (with S. Dufouleur).

The rest of the time she archives, cuts and pastes pictures, sentences, fragments of reality and photos of Joe Dassin

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