What is your artistic background ?
I was born in Avignon. This first part is important because I lived my childhood as a spectator. My projectionist father on one side and the festival on the other every summer. I was something of a passive spectator, with rather a detached and carefree way of watching this world unfold, without taking the measure of my privileged position... Childhood. I dreamt of being an actress. I studied violin at the conservatory. A baccalaureate in cinema. A theater workshop. Fencing.

Then, as a young adult in Paris, I discovered theatrical literature. I worked to put food on the table. Conservatories and unsuccessful Grandes Ecoles entrance exams. Then an encounter with Anatoli Vassiliev changed everything. I found myself in Thérèse Philosophe at the Odéon, alongside Stanislas Nordeyand Valérie Dréville. I was 20 years old. I discovered Art theater, the political, sacred aspect of theater. The intensity of this experience resonated very strongly with me. I felt I belonged. It was no longer possible to "just do theater" or "just be an actress". I had to get into a graduate school, the only place in my eyes to do research. So, I entered the TNB as part of Stanislas Nordey's new class. It was three years of absolute theatrical bliss, and I finally felt a form of satiety... My first directing gesture took place as part of the Carte Blanche program at the TNB. Get out of my garden, a mix of texts by Tarkos and songs by Dalida with two performers from my graduate class.

At that point, I started a process. I took advantage of this luxurious setting to push the experience to the extreme. It was a laboratory from which was born an intense joy of being in this place. Anything is possible since it's still the cocoon of the school. Questions of production, distribution and audiences didn’t arise. We could go right to the burning, volcanic heart of it, and observe what might emerge. After that, I moved on from directing to acting through various projects. As an actress with Stanislas Nordey, Simon Delétang, Eric Lacascade and Delphine Bailleul. As a director I was lucky enough to do a Sujet à Vif in 2013 with Garden Party, a sort of continuity of the Carte Blanche.

I gave birth to my first child and directed a group of actors from Rouen (La Sixième Heure) in All By Myself (or the story of an encounter), a show that would later be performed at the TNS in l'Autre Saison. It was during that period that I continued my work in stage writing. Then I tackled Ivan Viripaev's Ivres and created the GET OUT company with Olivier Talpaert's support. There began a marathon where the line was thin between tenacity and relentlessness, patience and discouragement. It took me four years to build up the production of that show, which was worrying because the text was divisive and fourteen performers were on stage. I then gave birth to my second child. The show finally saw the light of day in the midst of lockdown, thanks to the Quai d'Angers, which acted as delegated producer, and the Théâtre des Célestins. The date was October 2020. We had to wait until September 2021 for the show to be shared with the public, that time in Angers. At the same time, I was directing students in several projects, taking part in the theatrical serial Feu Sacré at the Théâtre de la Croix-Rousse, directing Les Guerrières d'Orient, a short operatic piece by the baroque ensemble Le Banquet d'Agamemnon, and commissioning, on the initiative of the Théâtre de Villefranche where I'm associated, Le Dieu des Causes Perdues, a text by Agathe Charnet, a wild and light adaptation for Noémie Rimbert (actress) and M'hamed Menjra (musician).

What I particularly love about this job is bringing together people who, on the face of it, would have nothing in common apart from the mad desire to defend a text (or anything else). Something then escapes us and grows in this plural imagination. It was during the winter of 2019 that I discovered the text of Goliarda Sapienza's Art of Joy, thanks to Amélie Casasole. I immediately decided to adapt it. It was a long, painstaking, time-consuming job... I was making gradual progress on both the adaptation and the construction of the project, the cast, the set and the production partners. This novel, a true masterpiece, unquestionably brings people together... The GET OUT company is also associated with the Comédie de Valence and the Théâtre des Célestins.

How do you view your profession today ?
With a curious view... And a tender one... The difficulties involved in bringing shows to life today are immense. So, I have a real feeling of gratitude towards all those who have to face up to this necessity. I'm not worried about the profession, I'm worried about our society in general. Our profession, precarious and uncertain, is only a reflection of the whole, sometimes even a magnifying glass... But we'll always make theater. How to do it is another question. I see the place of the theater as a non-dogmatic place of worship, a place of communion. I place a lively hope in the fact that spectators leave this place wanting to go on living and trying to do it perhaps even better... Reawakening desire.
"When the wind rises, we must try to live" Paul Valéry

How do you see yourself in 5 years ? In 10 years ?
Older and less tired, I hope!