Second Year Programme

In the second year programme,  you will learn how to create a theatre piece, a show or write a play with what you discovered in the first year. Rhythm, music, fixed point, fantasy…..etc .  How to show your pleasure around game in front of a real audience.

Second year is made up of 3 terms with 3 different subjects. These are in-depth courses that each last 9 weeks. A show is prepared in each course. The show, under the direction of Philippe Gaulier, will be peformed for the public during the last 5 days of that workshop.

These courses are open to those who have asked for Philippe Gaulier’s permission and who have completed a minimum of 20 weeks of first year (including Le Jeu) in the Ecole Philippe Gaulier. It is only for people who are 19 years or older.

Students who complete the 2 year programme over 2 years, will receive 500 euro discount for the last workshop. 

Normally the first show of the second year: Clown. Why? Because the clown only exists around candour, naivety and simplicity. And this candour I will call it “The mother of theatre”. An actor also draws his freedom from it: candour. Whoever in theatre frees himself from candour will perish in Asiatic cyclones.

That’s my motto. I share it. Be careful, Asian cyclones are nasty. They kill the passing clouds.

The second show will be a “Vaudeville”, a play by Feydeau. To laugh! No problems! Everything there is rich, luxurious, sumptuous. That the actor, on stage, may not be concerned with the problems of society. That he makes us laugh! That he invents many and peculiar loves. That he forgets his keys in his pants at the house of his ex-mistress! And that it rebounds and rebounds all the way to the conjugal bedroom. Vaudeville is beautiful: therein are astounding intrigues that take us directly to the conjugal bedroom. Vaudeville? A grandiose homage to fucking…

How many times have I been asked the difference between clowns and bouffons. I almost always replied that clowns were paid to make spectators laugh and that bouffons made spectators laugh because a man who laughs is less dangerous than a solitary one who ruminates on revenge. If the public laughs, the bouffon, who has been blacklisted in a concentration camp or near the swamps and undoubtedly returns wounded and hurt to the bone, will make more fun of his executioners. Laughter will permit him to go further and further and further. Laughter helps the bouffon to beautifully parody the bastards who put him on the blacklist. Laughter helps freedom.

This work is important for those who think that theatre should engage in social conflicts by manipulating black humour, as black as possible!