“There is a spiritual climate, a kind of metaphysical night, a “work in the dark” which is not nothingness but the condition for something else to emerge in Sur le fil. And this other thing is absolutely beautiful.”
“What allows the writing to endure and exceed the stage experience lies, among other things, in the degree of risk-taking that each performer allows himself. His ability to constantly combine rigour, i.e. all the rules inherent in writing, with his own overcoming, until the mind and body give way and no longer represent a limit. This double exhortation gives rise to a paradoxical experience of infinite submission and abandonment. This is because overcoming becomes possible only when one has applied rigorously to the body and mind a series of rules which highlight one’s own habitual, known mode of functioning from which it is indispensable to escape. Once this mechanism has been identified, it becomes easier to find the ways in which one manages to escape from oneself, and it is precisely at this point that the essential challenge of a play lies, in my opinion.
Indeed, in order to succeed in making the experience of this transcendence resonate in the other, the performer must constantly be aware of this dramatic tension which gradually gives him the sensation of bringing him to the edge of himself and thus allows him to apprehend that which constantly escapes him and fulfils him. This careful and fragile balance to be maintained makes him extremely receptive, not only to what happens inside him but especially outside him. A new attention that reconnects and renews the lost links with what surrounds us, in favour of what is shown. Only then, balancing on this thread, for an indefinite time, do we accept that we no longer know.”