Julien Buchy

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.

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.

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.

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.

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.

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.

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.