It may be a story of skin, porous membrane between oneself and the world. The skin that Laetitia Dosch has diaphanous, like most redheads, but that’s not the reason why this delicate, almost transparent envelope seems to work as a sensor. Rather a matter of sensitivity, obviously. On this evening of June, the young woman vibrates with all her being , under the big pines of the Domaine d’O, in Montpellier, at the exit of the representation of Hate : a creation of which she signs the text and the staging, in which she plays, and which, after Lausanne and Montpellier, arrives at Nanterre, where it is not necessary to miss it .
The show is in his image: a total singularity. The beautiful, out of a painting Botticelli, plays, skin against leather, with the beast. In this case a horse named Corazon (“heart”, in Spanish), with a gray trout dress. They are both naked, which is more noticeable at home than at home. It would seem that Laetitia Dosch does not do anything like another, from the beginning.
“I’ve always been the weird of the family,” she says. Its heterogeneous environment and Catholic ultratraditionnel 8 th arrondissement of Paris. “At the same time, my family was strange, in its way, we lived with my grandparents, uncles and aunts, and in the middle of animals, alive or dead. At home there were two parallel worlds: the adult ones, and the animals and me. But it’s good that I have fallen in the ” cathos ” , like that, I could not reproduce any scheme, “she says with this light humor, falsely naive, which characterizes it.
It is indeed in her private Catholic high school, however, that she discovers the theater, which saves her from a lonely and mute adolescence. And it is in the theater that she plunges, with lost body, she who appears today as one of the muses of the young French auteur cinema. With an eclecticism, a curiosity, an originality that make him make the difference between very different forms, which nevertheless still marks his identity.
She played Shakespeare alongside Eric Ruf, the boss of the Comédie-Française, or under the direction of the director Mélanie Leray, while ferreting into the much more experimental and performative world of choreographers Marco Berrettini and La Ribot. And she wrote her first show, Laetitia makes a fart … , parody of stand-up, where she plays a humorist a little weak, who makes jokes about the old, the Jews and the Blacks. Laetitia Dosch does not mind having a squeaky mind. [ . . . ]