Jérémie Le Louët

Dramaticules brings us a fairy tale for adults and children alike, set in the world of the fairground. A place for theatre in the making, where anything is possible, and in which memories, fantasies, myths and dreams are brought to life.

A team of adventurers decides to head off in search of a hidden summit, the point at which two worlds meet: the land of the living, and the beyond. Written over a period of time spanning from 1939 to 1942, Le Mont Analogue, an unfinished novel of Alpine adventures by René Daumal, is the gateway to the forthcoming Dramaticules production.

How does a director make use of the technical and scenic possibilities offered by the stage? Dramaticules reveals to spectators the various means, aside from the text itself, used to reinforce the meaning of a piece currently being worked on: lighting, sound, and how the actors are directed.

Similar to Hamlet, the youth of today has a longing for an era that they have not experienced. How do we take action? Combining both Shakespeare and collective writing, repertory and new work, Dramaticules looks into the overbearing weight of tradition and cynicism of our times.

Dramaticules delights in blurring the frontier between fiction and reality. A director and two actors present themselves to the audience and offer up the possibility of looking into how we might act out La Fontaine’s Fables today. The audience is invited to cast a critical eye on the different acting propositions.

In his work, Andersen tackles subjects as diverse as hardship, the impatience of youth, brevity of our earthly existence, magic and the force of good… In this recital of folk tales, Dramaticules shares with us its love of folk tales and their false sense of naivety. It brings out Andersen‘s melancholic voice in all its vibrancy.

The monster is that extraordinary being which fascinates and terrifies because it so different from us and also because of its propensity for transgressing established norms. Dramaticules offers us an anthology of folk tales from the 17th to the 20th century, ranging from the morality-base tale to the fantastical short story via the prose poem, from Perrault to Lovecraft.

In 2016, the Musée de la Poste commissioned Dramaticules to create a staged-reading in resonance with the photographs presented as part of its Temps suspendus – Explorations urbaines exhibition. The result is a mixture of trepidation and fascination.

Taking in Perrault, Grimm, Andersen the different works featuring in the Histoires éternelles plunge us deep into the fantastical universes of enchantress flutes, hypnotic matches and magic keys. By means of three of world literature’s most fabulous tales, audiences are treated to a captivating, immersive experience.

This journey into the land of the Tsars and the Moujiks takes us on a flight of the imagination at the heart of Russian folklore.

Jérémie Le Louët and Théo Pombetgive voice to three visionary folk tales by Turgenev, Tolstoy and Veressaev, forbearers to the major upheavals soon to take place in early 20th century Russia.

Three visions of man in the face of his destiny, derisory condition and possible escape via dream: Jérémie Le Louët and Théo Pombet draw upon the unsettling sparsity of Kafka, the dreamlike poetry of Lovecraft and the hallucinatory visions of Schwob.

By means of a recital of great intensity, Jérémie Le Louët and Théo Pombet create a bewitching sound and musical-based environment. They enable us to discover one of the classic works of French literature.

With its narrator within the narration, stories within a story, and theatre within the theatre, Don Quixote is a work of multiple facets. It is, by turns, satire, sermon, homage, confession and form of amusement. By delving into the immense creativity, freedom and subversion at work in the novel, Dramaticules gives us the opportunity to discover a very real testimony to our times.

Noémie Guedj, Simon Denis and Jérémie Le Louët bring to life Collodi’s densely populated universe, tackle the disguising of the different voices, and use music and amplified sounds to recreate the magic of one of the world’s finest myths.

Non-linear and non-reverential, this adaptation of Ubu roi des Dramaticules is a plea for creative freedom and unrestrained laughter in the face of the abuse of power. It is also the story of a troupe wanting to put on Ubu roi and tearing itself to pieces in the process.

Based on its observations of the theatre industry, Affreux, bêtes et pédants denounces posturing, of the most pathetic kind, and all the imposters that are connected with it. In short, an unholy array of monsters. Preconceived ideas, the commonplace, and downright stupidity are the basis for this hard-hitting, unbiased fresco.

In 2014, the Musée de la Poste commissioned Dramaticules to create the programme for a staged-reading in resonance with the La Tête dans les nuages exhibition. Jérémie Le Louët turned to one of his favourite authors: Marcel Schwob.

Jean Delabroy revisits the eight historical pieces that Shakespeare devoted to The Wars of the Roses. Enfants de l’enfer comprises two monologues, Immanité et Humanité. Dramaticules created this diptych as part of their association with the Théâtre de Châtillon, in conjunction with the creation of their full-scale production of Richard III.

Through a mixture of seduction, manipulation, composition, and imprecation, Richard turns his ascension and fall from power into a very entertaining spectacle. It provides us with an implacable, sarcastic and angry demonstration of the mediocrity of the world.

A masterpiece from the collection of the same name written by Marcel Schwob in 1893, Le Roi au masque d’or embraces with extraordinary might all the themes that the symbolists were so fond of: masks, mirrors, the moon, blood, purity and the tragic destiny of men.

Salomé is a declaration of love to the French language, a meteor in the work of Oscar Wilde. In this moon-inspired poem, imbibed with exoticism and strange sonorities, Dramaticules endows the different characters with the full range of feelings and emotions.

The latter 19th century abounds with the most wonderful storywriters in literature across the globe. Jérémie Le Louët performs an anthology of tales which enables us to grasp the stylistic flourish of the decadent movement. From lyrical works to baroque humour, and the use of explosive language, Les Décadents brings us poetry which is playful, surprising and spectacular.

In Le Horla, Jérémie Le Louët finds strong resonances with his work as an actor. The staging does not seek to create a Normandy-inspired interior. Instead, by virtue of its simplicity and technical exigencies, it aims to shed light upon the obsessions, anguish, and metaphysical questions that the protagonist is subject to.

Written in 1835, this short story by Nicolaï Gogol is the only text in his repertory of works which is written in the first person. In the space of a few days, its hero loses his grip on reality. He starts by succumbing to strange feelings of desire, overhears a conversation between two dogs and then mistakes himself for the king of Spain…

These sketches by Roland Dubillard, taken from his work Diablogues, bring together on the stage two protagonists (A and B, to make things simple). By means of a play on language the rhythmic quality of which takes our breath away, we share in the stupidity of their ways and their spite, but also their endearing amazement as living creatures with the capacity of speech.

In three episodes, Plus belle la vie d’une compagnie is an incisive and humorous look at the life of a theatre company, named after a similarly-named French soap-opera. Nobody is spared: artists, theatre professionals and spectators alike. This offbeat triptych takes an uncompromising look at what happens backstage.

This show is the first incursion by Dramaticules into The Adventures of Pinocchio by Carlo Collodi. These adventures with the staged-reading of Pinocchio , followed by the full-scale production of Pinocchio in 2020.

Harold Pinter wrote around twenty sketches and skits for the radio some of which were draft versions for his plays. By means of a participatory exercise in style, Dramaticules explores what is at stake in the language of Harold Pinter, as well as its humour, cruelty and theatricality.

The different characters are the senior staff of an undefined bureaucratic institution. The patients, that we never actually see, are identified by their matriculation numbers. Dramaticules draws upon the sadistic joviality and explosive atmosphere of this “hot-house”, in which comedy and cruelty go hand-in-hand.

In this tragic, Ubu-like verbal outpouring, Ionesco investigates vanity, destiny and death. What is entertainment for some is a nightmare for others. From vaudeville to tragedy, via the fairy-tale, the play gives us the opportunity for individual reflection on the mechanisms of power.