Water always has an unpredictable side and indeed there are times when we are frustrated because when it rains a lot we cannot work, water arises in a very authoritarian way, it generates conflicts at work.
It is not a small element to which we can say: "Okay, rain today, but not tomorrow!".
The mass of water is important for the puppets, I am talking about this technique that we use, the mass of water around the puppet is much more significant than, for example, for the manipulation in the air the resistance of this element.
A person who manipulates or works in an intellectual way, one could say Cartesian, will have difficulties, because water requires a more bodily, sensual approach and requires that you work on your intuition.
At the same time, the water asks to hear the currents beyond the puppet.
We cannot limit ourselves to considering the manipulation of the external form of the puppet as corporeality, we must go further.
Control sticks are long enough, so one way or another you have to perceive several square meters to be aware of all the space that comes into play, even if it's not visible to the public.
And I think there is also a special relationship with the stage mates, because if you are focused only on your own interpretation, there will be accidents between people.
You have to be very aware, a bit like in a dance choreography, I would say.
By structuring the movements in water as in dance writing, we are more easily able to use terminology that comes from dance rather than from theater.
There are fewer lines, fewer diagonals, there is something rounder, more linked to gravity, linked to the resistance of water, to heaviness.
You have to overcome yourself.
In working with water, if you are in resistance with the materials, the audience feels like a tension and the risk of breaking the puppets becomes almost uncontrollable.
There is something that you have to let go of, a confidence to have in order to arrive at this state of interpretation, in which we surpass ourselves.
We are not very many to be trained in this technique in the Company, we have never done workshops, maybe it will happen.
So far we have only four, five people who have worked with us.
We realized that it really isn't a job for everyone.
For example, it is necessary to have a time, both for meditation and for Chi Qong , or for the preparation of the scene and the materials, so that the actors during the time of the performance can achieve this increased presence .
Even though the show only lasts forty to fifty minutes, the time to place the puppets and get ready can be three hours for a show.
Set design for Cantique Acquatique, Théâtre d'Illusia - Aurora