I left professional acting in 2008 and continued my career as a trainer. I always hoped that one day I would be able to return to my passion for acting. I continued clowning with the hope of one day being able to put on a show and perform. In April 2022, the public presentation of a “Royal Trombine” clown act was the impetus I was waiting for to get started. This comic sketch which features a king who imagines himself a photographer received a warm welcome from the public. He decided me to embark on the creation of a show that could talk about questions that have pursued me throughout my life: the relationship to power and loneliness.
The meeting with Cécile Rist, director, was decisive. She dreamed of directing a clown; I dreamed of finding the person who could support me in the realization of my project. We, Istvan and I Cécile, have sought to offer a mobile and autonomous form, easy to play anywhere, a form that is aimed at both adults and children. An outdoor form seemed to us the most free, like the jugglers and troubadours of yesteryear. The appearance of a clown in the public space is unexpected today. As this one is a king looking for his people, it fits perfectly with that of an actor looking for his audience. The basis of the proposal is laid.
Istvan then provided me with a whole bric a brac of objects and notions with which he wanted to play, that is to say, Istvan’s intimate themes: loneliness and power. We started to embroider a story, a journey, which allowed them to be included while telling a coherent story. It turns out that clowning is one of our most precious and mysterious intimate arts. While respecting this narrative coherence, we also leave the clown a space of freedom to let himself bounce, resonate, improvise and react to the unpredictable of immediacy.