Bertrand Lesca (Bert and Nasi) – The Frame

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Bertrand Lesca is a theatre maker from France. After studying at Warwick University, he went on to assist Peter Brook and Declan Donnellan on several international tours. Bertrand currently works with Nasi Voutsas (Bert and Nasi) with whom he co-created the trilogy EUROHOUSE, PALMYRA and ONE.

The Frame

Bertrand Lesca and Nasi Voutsas in Palmyra. Photo by Alex Brenner

PC: Your work seems to fit into a long tradition of comedy double acts, was that a conscious decision?

BL: No, it was more about understanding the dynamic between us two. We quite quickly found, whilst improvising, that I was oppressing Nasi and he was just the victim of this horrible person that I was playing. We always found it very amusing and very funny. We had no sense that this was what we wanted to do, it just kind of started to happen. Then we saw the film of Bloody Mess by Forced Entertainment which had a comedy routine that was happening between two people where one clown wants to put a line of chairs to the front of the stage and another clown wants to put the chairs to the back. It starts with just one man starting to place them and then the other one moving them and then the way that it builds was really amazing. There was something almost political about it but again not naming anything political: just two people on stage wanting different things. We were really interested in what you could read into that if you give that scene a title. If you frame it for the audience, you start seeing the scene differently.

Tim Etchells on the first moments of Bloody Mess by Forced Entertainment

I think that idea of framing something is quite key to our work. Something clicked, as well, when looking at Cy Twombly’s paintings. Even though his art is very abstract and hard to decipher, there’s always a title which comes to support the viewers understanding of what it’s about. We always try and give our work a very clear title, a very clear frame so that we can take the audience on a journey.

The Song of the Border-Guard by Cy Twombly 1952 http://www.tate.org.uk/art/work/P77550

PC: What’s the first thing that you do when developing a piece?

BL: We get into the room and we just start talking about this thing. Then at some point we need to stop talking and start making something. We then try and leave all the information that we’ve gathered together outside and we start playing. Usually there’s just the two of us, so we start playing games and running long improvisations that carry on for anything up to an hour and a half. After that we make notes of things that we’ve found during the improvisation and what connected to the ideas that we’ve talked about. But we have to find the game and what the game is. So, if you have a man on the ladder and you have a man who’s not on the ladder, what’s the game? How can you play with that? We take a long time to work out what games work with the particular political context that we’re exploring. At the end of the day, it needs to be something that we can play, that we can act with. If it gets too complicated we usually leave it to one side.

PC: Are those connections always clear?

BL: We try to make them clear but sometimes there’s a sense that the meaning of it even escapes us, we don’t really know why it works but we think it works. For example, in Palmyra there’s this moment when I start shaving Nasi’s beard with the microphone, there’s something so violent about this but also very playful, but the meaning of it didn’t come through the first time, we were just playing. It came up again and it was very clear for us that it was about how people perceive the beard of a Muslim person and the act of shaving it, it’s offensive from a religious point of view but also a really quite aggressive thing to do. That all started off as a game; something completely unconscious that we did in rehearsals which came back again and made complete sense with what the show also needed to say.

Read the full interview here.

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Bertrand Lesca (Bert and Nasi) – The Constant Triangle

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Bertrand Lesca is a theatre maker from France. After studying at Warwick University, he went on to assist Peter Brook and Declan Donnellan on several international tours. Bertrand currently works with Nasi Voutsas (Bert and Nasi) with whom he co-created the trilogy EUROHOUSE, PALMYRA and ONE.

The Constant Triangle

Bertrand Lesca and Nasi Voutsas in Palmyra. Photo by Alex Brenner

PC: What is theatre?

BL: We’re interested in the idea that everything that you see is happening in the room at the same time – with the audience. We imagine a constant triangle between the audience, Nasi and myself that keeps looping. The constant awareness that we’re in a room with an audience feeds our work. Whatever we do always relates to this one single idea.

PC: How does politics fit in with your work?

BL: I think the politics comes from what people know before entering the room. We give them a hint, which is usually the title and sometimes the blurb. That’s what people should know before entering the room. Once they enter the room, we do things that are supposed to create associations in the spectator’s mind. I think we’re always very careful not to mention anything political in the room – we leave it to the audience to fill in the gaps and to create these associations. Of course, we go into the politics when we make the work: we research and debate. It’s very clear, for us, what we’re trying to create with each image, but I think people watching will think about a lot of things – sometimes that completely escapes us but that’s okay. Everything we do on stage is very open to interpretation. For example, some people will see the work and only see it as a reflection on a relationship, or they will think about conflict, or they will think about what we really want to talk about, which is a specific political conflict, but we don’t force it. We never say, “This is what you should think!”

PC: Why is it important for your form of political theatre to leave space for the audience and to be open to interpretation?

BL: We knew that we wanted it to be political when we started working together, but we felt uneasy when we thought about political theatre because, for us, it was this idea of preaching to the converted – we really wanted to avoid that. So, we started looking at another way of making political theatre which wouldn’t be that.

PC: How did you develop that approach?

BL: We started making Eurohouse with interviews we had done in Greece, almost like a verbatim piece. Then we invited someone from Greece to see it and she was like “Yeah, that’s okay.” Then we showed her us two on stage with me humiliating Nasi and making him do stuff that he didn’t want to do, and she said, “I can connect with this and the feeling that it leaves me with, this sense of humiliation, is exactly what this is all about.” This made us think that we can work through the politics through a feeling, through people having an emotional connection with the political subject that we’re trying to explore, rather than an intellectual understanding of what’s going on. A lot of our work is to do with trying to create an understanding through an emotional connection with what’s happening in the room, with what’s happening between us both or with what’s happening between us and the audience. We’re always really trying to work through the feeling of what that particular political context is doing to people.

Read the full interview here.

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