Vendredi 11 mai 2012 5 11 /05 /Mai /2012 13:19

The set for this production has a difficult birth. This director belongs to that kind of director who is not a visionary person, so everything changes constantly.

Manuel Iborra who is not a very well none film maker adapt a film he did 20 years ago for one of the Teatro Español stage, The MATADERO in Madrid.

When I meet him one year ago the first text has 45 scenes. I suggest him that in theatre it might be difficult to have that kind of sequences, each scene will be very short and if we have 44 different spaces or scenery just the time for the change will be at least 30minutes.

He cut the text have to 35 scenes but add immediately 33A, B, C for finally have 39 scenes.

The story needs one main stage where the orchestra plays. In Alexandria, Amman and finally on boat back to Valencia. We also need 5 different hotel rooms in 3 different hotels, and toilettes, cafeterias, 4 hotel lobbies, 2 different boats salon, street etc…

I suggest 3 different sets and finally have one who has 4 different spaces.

The theatre stage is in center where the curtains, legs and borders are in very interesting fabric from PERONI who take very well all colors. So we can have any atmosphere we want, the stage blue, red etc….This stage can be closed by screen for projections.

One each side of this stage there are two spaces that can be closed by a screen and a black curtains.

In front of that there is an old blue floor 5 meter deep to play most of the scenes who are suppose to be outside, deck of the boat, bank of the harbor, street, etc..

Time to time because there is not a good preparation of the story board and less and less money most of the scene will be play in font and less inside of the small stages.

But there is more projections to tell where we are (director is a film maker!)


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Par studiojglecat - Publié dans : Theatre set design - Project and realisation
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Mercredi 9 mai 2012 3 09 /05 /Mai /2012 15:33




Some year ego the city of Madrid decided to transform the sheds of the old slaughter house abandoned. Alicia Moreno Espert responsible for the culture in city, ask me to make a program for the last 4 buildings that still not have destination at that time. One of the 4 had a different style as it was build recently. The other 3 was suppose to be one for music, one for dance and the last one for theatre. But the proximity of the building makes this idea difficult as the acoustic question. The building was too close to each other to be able to have high sound activities at same time. After one year discussion I made a program in that way : the smaller building will be the entrance of the public with a bar and seats for cabaret or small music before or after the play. The second one will be a flexible space for theatre and the last one will be turning to small theatre, school rehearsal room, administration and dressing rooms. During that time the buildings was restore outside and got a new roof.

The city decided to give the direction of this three space to the Teatro español (Mario Gas director) as a second main space but more flexible.

In the program I suggest that kind of political way of transformation : Simplicity, no restoration of the building inside, cheap transformation, temporary construction adds (Scaffoldings), be able to open soon as possible, program for other transformation in future, nothing that block possible new ideas in future.


We have transformed the first building completely to have nice lobby, a small stage and a café.

The connection between the first buildings to the second one was done with temporary scaffolding and contains the toilettes and cloak.

The second building was transform with some permanent and temporary techniques. Bridges, grill, permanent wall, concrete floor etc…

We have two sorts of seats. One permanent central one who can be push and some other elements for about 200 seats that can be build in many different ways.

The third building was temporary transform for dressing room and small administration.


In fourth building I had the project to turn it to a fresh space for summer with plants and fountains. Like the Arabic tradition very well done in Spain in past. I suggest that as the all space except the main entrance have not trees any shadow and concrete floor everywhere. The reflections of the sun on concrete make space in between warehouse not very comfortable and not friendly.

The city prefers to destroy this building and create a stupid concrete slab.

Today most of the building are finish and the Hall for the music did with water and plants exactly what I suggest years ago. Fortunately the city gave this space to Red Bull Company who has asked a cleaver architect to do that.



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Par studiojglecat - Publié dans : Architecture - projets - realisations
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Mardi 1 mai 2012 2 01 /05 /Mai /2012 11:22

Last January 2012 I was in Houston Texas the all month, to create "The Rape of Lucretia" by B. Britten.

I will try with my poor English to express what I did :

I loved the all work I did there. First of all, the very clear, simple and cleaver work of the director Arin Arbus. The work of the workshop who build the set in Chicago. The work and the relationship we had with the technical direction. The quality of the relations and work with the props, light and stage crew. The relationship with stage managing and assistants and the nice atmosphere inside of the artists cast. There is very fee moment in theatre live where there is just good things through the all process of creation.

The set I did was simple and sophisticate at same time. The first Idea I suggest was to Arin was to try to create an intimate space inside of this huge opera. Usually the singers are lost in this vast stage and look small. I want to do the opposite. Help their presence and help their voice. We lesson well when we see well but the presence of artists on stage are first through their voice. I have realize after have draw several set for opera that the singers are not using stage over 7,00m deep. (About 23 feet) Over this distance they probably think there voice will be lost. Which is true in most of the recent opera?

So I make a set not deeper than 7,00m for opera, I do it also in wood and on way the voice of the singers are collected and push in direction of the audience. In the set I did for lucretia behind the singers the platform and the steps have the same high that the singers. Over that high there is column who prolong the verticality of the artist and there energy. Horizontal lines express peace like see and beach where you feel naturally to seat; vertical line express energy like in forest where you do not feel to seat. The beauty of human been is also express by vertical line opposite to the horizontal one who compress the body. So in the set I did there is all this horizontal lines with the platforms and steeps and the vertical line with many column that stop eyes and live space to see through the sky.

We decided with Arin to express the atmosphere of the different scene in the sky. To do that I have to paint and mix with photos 100 slides project on very large back stage screen. (The size of the stage) I travel in different part of France to make about 2000 photos of sky. (See photos). We have also decided to not have many colors in set to let the costume designer free to develop all the colors. The set have almost one smooth color (more or less dark) so the presence of the singers with their colored costumes was stronger.

The people who work in the opera were surprise by the quality of the presence of the singers and there voice. They said the singers look to have a normal size. (That minds in other opera it is not the case?) 



Par studiojglecat - Publié dans : Theatre set design - Project and realisation
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Vendredi 10 février 2012 5 10 /02 /Fév /2012 00:00




  Conception scénographique décors et conseil artistique 

                                  Officier des Arts et des Lettres


                   Jean-Guy Lecat’s Biography


   In 1965, after having been a fitter model maker, then draughtsman, in Thomson-Houston’s factories, J.G. Lecat completed 6 months of training at the Television Studios Les Buttes Chaumont. At that time, he met Claude Perset, a set designer and theatre-architect. In 1966 he left the factory and became his assistant; he drew with him several theatres and festival’s spaces, amongst them the famous Théâtre d’Orsay (Théâtre du Rond Point today).

 From this date he practiced at same time, every technical and artistic job in theatre including being an actor. He took part in more than 100 productions for many directors as : Jean-Louis Barrault, Roger Blin, Jean-Marie Serreau in Cartoucherie de Vincennes and with company as : Living Theatre, La MaMa ETC, Peter Brook CICT Company. He also works with several architects, from the beginning of his theatre carrier as he always keeps at same time a feet on architecture and the other one on theatre stage.

 From 1976 to 2000 technical director and space designer for Peter Brook Jean-Guy Lecat was charged by particularly with research, the transformation or creation of more than 200 spaces throughout the world. Some of them are still kept as : Harvey-Majestic Theatre and La MaMa in New York, The tramway in Glasgow, The Gaswaerk in Copenhagen, The Mercat de les Flore in Barcelona, Carrière Boulbon in Avignon,  T.N.S in Strasburg, Bockenhaimer depot in Frankfurt etc…

A book that tells his work with P. Brook around the world is published :

-       The Open Circle” A. Todd J.G. Lecat – Faber and Faber London.

-          “El Circulo Abierto” A.Todd J-G: Lecat - Alba editorial, s.l.u. Barcelona.

-        "The Open Circle" A. Todd J.G.Lecat - Palgrave Macmillan Ltd. New York.


 He left Peter Brook Company in 2000 and from that time he did :


As Theatre-Consultant at the side of architects, he takes part in creation or

transformation of :

-“Theatre for a New Audience architect Frank O. Gehry and Hug Hardy in New York 

- Project for the new « The Other Space Theatre / Royal Shakespeare Company».

- “Teatro Azul de Almada” architects M. G. Dias and partners in Lisbon.

- Program for the transformation of “Teatro Trindade” in Lisbon.

- “Théâtre Ouvert” new space, architect Andrew Todd in Paris.

-“Tindved” an old factory turn to theatre spaces and theatres school’ in Verdal Norway.

- “Naves del Antiguo Matadero slaughter house turn to theatre in Madrid.

- “The New Young Vic” architect Steve Tompkins in London.  (Winner of the RIBA London building of the year Award).

-  “The Roundhouse” transformation of an old train depot to a theatre architects J. McAslan and Partners in London.

- “The Unicorn Theatre” in London.

- “The Abbey Theatre” architects John Keogan in Dublin.

- “The Empty Space" new small theatre in Dublin.

-  Construction of a “Street Theatre Space”  for a Portuguese company, opening in 2005.

- “Les 3 Baudets architect Anthony Bechu in Paris    

- Fitting out for “Alvin Ailey” dance festival (Les Etes de la Danse)  inside of a 17th century building (Soubise–Rohan) in Paris.

-  El Funaro-Teatro Blue Transformation of an old 17th century carpentry into a theatre in Pistoia Italy.

 - In last PQ07, construction of a temporary theatre in cardboard-boxes and fiberglass over scaffolding Prague.

- Project for transforming theatre in St Petersburg.
- Project to transform an
old building 17th century to opera school in Moscow.
- Transformation of the
Mercat de les Flores in Barcelona to a dance theatre. Adding a new room, new main room, new dressing room, new proportions. 

- Program to transform ArCub Theatre, and program to transform an old Caravanserai in Bucharest.

- Project on a theatre under construction in Granada for G. Lorca foundation. Advise to the client and to architects about everything who cannot works.


 As set designer :


-“Himalaya ballet", lighting - Ballet directed by R. Tremblay.

-"L'Iliade" by Homer with Kathakali Company directed by R. Tremblay in Singapore.

-"Der Theatermacher” (O Fazedor de Teatro), by T. Bernhard, director J.Benite. (Best play of the year in Portugal).

-“Othello” by W. Shakespeare, directed by J. Benite  (Best play of the year in Portugal).

-“Titus Andronicus” by W. Shakespeare, directed by S. Cartmell. (Winner of the best play of the year in Dublin).
-“Quarto Minguante” by R. Francisco directed by J. Benite.
-“Macbeth” by W. Shakespeare, director S. Cartmell.
-“Timon of Athens” by Shakespeare/F.Sena, directed by J. Benite.

-“Carmenopera by G. Bizet director A. Bourseillé.

-“Woyzeck” opera by A. Berg, Director A. Bourseillé.
-“Vienna Waltz” opera by Offenbach.

-“Teresa” opera by Marius Constant, directed by M. Constant.

- "O Doido e a Morte" Opera by R. Brandäo, directed by J. Benite.  

-“Mahagonny” opera by B. Brecht and K. Weihl   directed by M. Gas. ((Won the MAX Award - Best Musical Show of the year in Spain)
-“Tre Intermezzi" opera by Cimarosa-Capua-Cherubini, Directed by S. Mazzonis di Palafera.
-“Le Mariage secret” opera by Cimarosa Directed S. Mazzonis di Palafera.
-“The Clemens of Titus opera by W.A. Mozart. Directed J. Benite.
-“Il Barbieri de Seviglia” opera by Rossini directed by S. Mazzonis di  Pralafera. 

-"The  Mother " by Bertolt Brecht, directed by Joaquim Benite.
-"Tuning" by Rodrigo Francisco, Directed by J. Benite.

-" Rita et Il Campagnelo" by Donizzetti, directed by S. Mazzonis di  Pralafera. 

- " Brazil" by Natália Luíza e Melânia Ramos and directed by Miguel Seabra.

- « Before Breakfast  et Hughie » by E. O’Neill directed by J. Benite.

- « L’Inimico delle done » opera by Galupi directed by S. Mazzonis di  Pralafera.  

-  « L’Equivoco extravagante » opera by Rossini directed by S. Mazzonis di  Pralafera.  

- « Cymbeline » by W. Shakespeare directed by Noah Brody and Ben Steinfeld.

« Baba Jaga je snijela jaje » by Dubravka Ugresic directed by Ivica Buljan Transformation of an Adriatic beach to a spa.

- « Comedia y Sueno » by F.G. Lorca directed by J. C. Corazza.

- « Orquesta club Virginia» by M.Ibora directed by him.

- « Le viol de Lucrèce » by B. Britten directed by A. Arbust.

-  « A rainha louca » Opera by A. Delgado directed by J. Benite.

-  “Manon” by J. Massenet directed by S. Mazzonis di  Pralafera.  


As set and costume designer :

 -“The Caucasian chalk Circle” by B. Brecht, director Oriol Broggi.
 - « Antigone »
by J.Anouilh 2 sets in paper in two different theatres.
« La tempest » by W. Shakespeare directed by G. Weber.


As set, costume and light designer :


- “Miss July” by A. Strindberg, (and lighting) director J.C. Corazza

-“The Longer Kiss”, (and lighting) by J. Halle, director L. Vik
- “Collected Stories”
(Vidas Publicadas) by D. Margulies (and lighting) directed by M. Haufrecht

- “Mary’s Story” by Brassaï, (and lighting), directed by M. Bénichou.

- Teatrofocus company” Play by M. Trigo and directed by Mario Trigo.

- “La Périchole” opera by Offenbach, director A. Bourseillé.
- " Paula Spencer"  La femme qui se cognait dans les portes by é.
- "O Vendedor de Elogios" by Michel Simonot directed by Michel Simonot.
- "Uma Visita Inoportuna" by Copi, directed by Philippe Boulet.

- « Georges Dandin » by Molière directed by P. Boulet.


As director and set and costume designer :


-“Oedipus” by Sophocles. directed by Jean-Guy Lecat


Set for Television

- Quarto Mingu ante

- O Doido e a Morte

- Mozart/Salieri


 - Concurrently as, he began to share his experiments and discoveries by organizing a workshop every two months somewhere in the world. These workshops about space are open to young professionals or students, directors, architects, set designers and light designer. 


 Since 1965, J.G. LECAT has been: stage manager, machinist, flying machinist, props man, set constructor, set designer, photographer, scenic painter, lighting designer, sound designer, costume designer, technical director, theatre-consultant forJ.Vilar, (Avignon Festival), J.M.Serreau (opening the Cartoucherie de Vincennes), A.Bourseiller, M.Guillaud, L.Attoun, G. and L.Wilson, G.Retoré, Jean Deschamps, W.Merhing’s Théâtre de la Mandragore , B.Jenny’s Théâtre du Vieux Colombier, J.Lavelli, C.Dasté, J.Seiler, A.Vitez, Jérôme Deschamps, J.L.Thamin, M.Constant, G.Garran, P.L.Pitzi, F.Marthouret, M.Benichou, S. Lorenzi, W. Litch, R.Forman, J.Savari’s Magic Circus, Copi, J.Szajna, Tom O’Horgan, C.Carlson, O.Krejca, G.Marini, T.Kantor, K.M.Gruber, D.Warner, D.Donnellan, J. Benite (Lisbonne), L.Ronconi, J.P.Vincent, T.Suzuki, A.Serban, P.Boulez, La MaMa of New York, J. Beck and The Living Theatre, S.Becket, J.L.Barrault, R.Blin, ………and P.Brook.


The Cloister of Carmes, the Boulbon’s and Les Taillades’s Quarry
in Avignon; Théâtre d’Orsay in Paris; Warehouses Lainé in Bordeaux ; BAM Majestic Harvey, La MaMa Theatre and Beaumont Theatre Lincoln Centre in New York; The Tram (tramway) in Glasgow; Teatro Azul in Lisbon, Mercat de les Flores in Barcelona; Covento do Beato in Lisbon; Gasvaerk in Copenhagen (Gas Container); Bockenheimer Depot in Frankfurt; The Petroupolis Quarry in Athens; Antsey Hill Quarry in Perth and Boya Quarry in Adelaide-Australia; Odeon Theatre in Pompeii, Anfiteatro Romano in Calgary-Sardinia; King Palace in Rabat Morocco; The National Theatre in Strasbourg; Festivals : Paris (Festival of Marais), Carcassonne, Berlin, Vienna, Roma, Beograd, Venice, Gordes, Angers, Amsterdam, La Baule , Avignon, Montpellier, les Etés de la Danse Paris ………..
(about 200 spaces around the world for Peter Brook ).






















Par Jean-Guy Lecat - Publié dans : Biographie - Jean-Guy Lecat
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Dimanche 25 avril 2010 7 25 /04 /Avr /2010 23:30


        Conception scénographique décors et conseil artistique 

                                              Officier des Arts et des Lettres


               Biographie Jean-Guy Lecat


En 1965, après avoir été ajusteur-maquettiste, puis dessinateur industriel dans les usines de Thomson-Houston, J.G. Lecat a accompli 6 mois de formation aux studios de télévision des Buttes Chaumont à Paris. Engagé en 1966 au Festival du Marais, il a rencontré Claude Perset architecte et décorateur de théâtre dont il est devenu l’assistant. Il a dessiné avec lui plusieurs théâtres et espaces de festivals, parmi lesquels le célèbre Théâtre d' Orsay (Théâtre du Rond Point aujourd'hui).

Il a pratiqué tous les métiers, techniques et artistiques du théâtre. Il a travaillé avec de nombreux metteurs en scène Jean-Louis Barrault, Roger Blin, Jean-Marie Serreau avec qui il a ouvert la Cartoucherie de Vincennes et avec des compagnies comme Le Living Theatre, La MaMa E.T.C. participant à plus de 100 productions. Il est également consultant auprès d’architectes sans jamais quitter ses activités au théâtre.

 De 1976 à 2000 il travaille auprès de Peter Brook comme directeur technique et est chargé en particulier de la recherche, de la transformation ou de la création de plus de 200 espaces partout dans le monde. Certains d'entre eux sont encore utilisés : The Harvey-Majestic Théâtre, The Annex of La MaMa ETC Theatre à New York, le Tramway à Glasgow, le Gaswaerk à Copenhague, le Mercat de les Flors à Barcelone, La Carrière Boulbon en Avignon,  Le Théâtre National de Strasburg, Le Bockenhaimer à Francfort etc…

Un livre retrace son travail avec Peter Brook et est édité chez :

-  “The Open Circle» A. Todd J.G. Lecat - Faber et Faber Londres.

- « El Circulo Abierto A.Todd : G : Lecat - Éditorial alba, s.l.u. Barcelone.

- «The Open Circle" A. Todd J.G.Lecat - Macmillan Ltd de Palgrave. New York.


Depuis qu’il a quitté la compagnie de Peter Brook en 2000 il a travaillé comme,


Scénographe/consultant au côté d’architectes. I

l participe à la création ou à la transformation de :

-Theatre for a new Audience architecte Frank O. Gehry et Hug Hardy à New York.

- Projet pour le nouveau «The other space » à Statford on Avon Royal Shakespeare Company».

- « Teatro Azul De Almada” architectes M. G. Dias et associés à Lisbonne.

- Programme pour la transformation de « Teatro Trindade à Lisbonne.

- « Théâtre Ouvert” le nouvel espace, architecte Andrew Todd à Paris.

- « Tindved » une ancienne usine transformée en école de théâtre et en théâtre à Verdal Norvège.

- « Nave s del Antiguo Matadero transformation des anciens abattoires de Madrid en théâtre.

- « The Young Vic » architecte Steve Tompkins à Londres. (Gagnant du prix RIBA meilleur bâtiment de l’année à Londres).

-  « Roundhouse » transformation d'un vieux dépôt de locomotives en théâtre architectes J. McAslan et associés à Londres.

- « Le théâtre d'Unicorn » Théâtre pour enfants à Londres.

- «The Abbey Theatre » architectes John Keogan à Dublin.

- «The ampty Space" nouveau petit théâtre à Dublin.

-  Construction d'un «Theatre de rue» pour une compagnie portugaise en 2005.

« Les 3 Baudets architecte Anthony Bechu à Paris.   

- Aménagement du jardin de l’Hotel de Rohan  bâtiments du 17e siècle pour le festival de danse « Alvin Ailey  » et « l’année suivante « Compagnie de danse de Cuba » à Paris.

-  EL Funaro/Blu Teatro Transformation d’une ancienne menuiserie du 17e siècle en théâtre à Pistoia Italie.

 - Pour le dernier PQ07 à Prague, construction d'un théâtre provisoire en échafaudage et boîtes de carton remplies de fibre de verre.

- Transformation d’un théâtre à Saint Petersburg.
- Transformation d'un ancien bâtiment du 17e siècle en théâtre et salles de répétition pour l'école d'opéra et de musique Rostropovitch à Moscou.
- Transformation du Mercat de les Flores à Barcelone.

- Programme pour transformer le théâtre d'ArCub, et programme pour transformer un ancien caravansérail à Bucarest.































Comme Scénographe/décorateur :


- “L'Himalaya ballet "décor en papier,  ballet dirigé par R. Tremblay (plus conception des lumières).

- «L'Iliade » par Homère avec Kathakali Company dirigé par  R. Tremblay à Singapour.

-« Der Theatermacher » (O Fazedor de Teatro), de T. Bernhard, directeur J.Benite. (Le meilleur spectacle de l'année au Portugal).

-« Othello » de W. Shakespeare, dirigé par J. Benite (Le meilleur spectacle de l'année au Portugal).

-« Titus Andronicus » de W. Shakespeare, dirigé par S. Cartmell. ( Gagnant du meilleur spectacle de l'année à Dublin).
« Quarto Minguante » de R. Francisco a dirigé par J. Benite.
- « Macbeth » de W. Shakespeare, directeur S. Cartmell.
- « Timon d'Athènes » de Shakespeare/F.Sena, dirigé par le J. Benite

- « Carmen » opéra de G. Bizet, directeur A.Bourseillé.

- « Woyzeck » opéra de A. Berg, directeur A.Bourseillé.
- « Vienne Valse » opéra d’Offenbach.

- « Teresa » opéra de Marius Constant, dirigé par  M. Constant.

- « O Doido e un Morte » Opéra de R. Brandäo, dirigé J. Benite.

- « Mahagonny opéra de B. Brecht et K. Weihl dirigé par  M. Gaz. ((A gagné la récompense MAX -  Meilleur théâtre musicale de l'année en Espagne)
Tre Intermezzi » opéra de Cimarosa-Capua-Cherubini, dirigé par le S. Mazzonis di Palafera.
- « Le Mariage secret » opéra de Cimarosa, dirigé par S.Mazzonis di Palafera.
- « Le Clemens de Titus » opéra de W.A. Mozart. dirigé J.Benite.
- « Il Barbieri de Seviglia opéra de Rossini dirigé par S. Mazzonis Di  Pralafera.

- « La Mère" de Bertolt Brecht, dirigé par Joaquim Benite.
- «Tuning » de Rodrigo Francisco, dirigé par J. Benite.

- « Rita et Il Campagnelo » de Donizzetti, dirigé par S. Mazzonis Di  Pralafera.

- « Brésil " de Natália Luíza e Melânia Ramos et dirigé par Miguel Seabra.


Scénographe et concepteur de costume :


 -“ Le cercle caucasien de craie » de B. Brecht, directeur Oriol Broggi.

 -“ Antigone » décor en papier de J.Anouilh 2 décors à Séoul Corée,

Scénographe, concepteur de costumes et  de lumières :

- « Señorita Julia» de A. Strindberg,  directeur J.C. Corazza

- « The Longer Kiss»,  de J. Halle, directeur L. Vik
- « Collected Stories» (Vidas Publicadas) de D. Margulies dirigé par le M. Haufrecht

- « Histoire de Marie » de Brassaï, dirigé par M. Bénichou.

- « Compagnie de Teatrofocus » Conçu et dirigé par Mario Trigo.

- « La Périchole » opéra d’Offenbach, directeur A. Bourseillé.
- « Paula Spencer " La Femme qui se cognait dans les portes. De .
- « O Vendedor de Elogios " de Michel Simonot  dirigé par Michel Simonot.
- « Uma Visita Inoportuna " de Copi, dirigé par Philippe Boulet.

Metteur en scène, scénographe, concepteur de costume et des lumières  :

-“Oedipe » par Sophocle. dirigé par Jean-Guy Lecat


Décors pour la télévision

- Quarto Minguante

- O Doido e un Morte

- Mozart/Salieri


-  Dans le même temps il a commencé à partager ses expériences et découvertes en organisant des ateliers dans le monde (88 atelier entre 1994 et 2010). Ces ateliers sur l’espace de jeu sont ouverts à de jeunes professionnels ou étudiants, metteurs en scène, architectes, scénographes ou éclairagistes.

Il a le projet de créer une « École de théâtre des techniques et des espaces » à Lisbonne et à Moscou.


Depuis 1965, J.G. LECAT a été : le directeur technique, machiniste, cintrier, accessoiriste, constructeur, scénographe, photographe, peintre scénique, concepteur de lumières, concepteur son, concepteur de costume, directeur technique, conseiller/théâtre pour : J.Vilar, (festival d'Avignon), J.M.Serreau (ouverture de la Cartoucherie de Vincennes), A.Bourseiller, M.Guillaud, L.Attoun, G. et L.Wilson, G.Retoré, Jean Deschamps, W.Merhing Théâtre de la Mandragore, B.Jenny Théâtre du Vieux Colombier, J.Lavelli, C.Dasté, J.Seiler, A.Vitez, Jérôme Deschamps, J.L.Thamin, M.Constant, G.Garran, P.L.Pitzi, F.Marthouret, M.Benichou, S. Lorenzi, W. Litch, R.Forman, cirque magique de J.Savari, Copi, J.Szajna, Tom O' Horgan, C.Carlson, O.Krejca, G.Marini, T.Kantor, K.M.Gruber, D.Warner, D.Donnellan, J. Benite, L.Ronconi, J.P.Vincent, T.Suzuki, A.Serban, P.Boulez, La MaMa de New York, J.Beck et le Living Theatre, S.Beckett, J.L.Barrault, R.Blin, La MaMa de New York, ......... et de P.Brook.


Le cloître de Carmes et des Célestins et des carrières de Boulbon et des Taillades en Avignon ; Théâtre d' Orsay à Paris ; Entrepôts Lainé à Bordeaux ; Bam Harvey Majestic theatre, La MaMa Theatre, Lincoln Center d  Beaumont theatre à New York ; Le dépôt de tram (tramway) à Glasgow ; Teatro Azul à Lisbonne, Mercat de les Flores à Barcelone ; Covento do Beato à Lisbonne ; Gasvaerk à Copenhague (récipient de gaz) ; Dépôt de Bockenheimer à Francfort ; La carrière de Petroupolis à Athènes ; Carrière de la colline d'Antsey à Perth et Carrière de Boya à Adelaïde Australie ; Théâtre d'Odeon à Pompéi, Romano Anfiteatro en Calgary-Sardaigne ; Le Palais du roi dans Rabat Maroc ; Le théâtre national à Strasbourg ; Festivals : Paris (Festival de Marais), Carcassonne, Berlin, Vienne, Roma, Beograd, Venise, Gordes, Istre, Amsterdam, La Baule, Avignon, Montpellier, les Etés de la Danse Paris ........... environ 200 espaces autour du monde pour Peter Brook).











Par studiojglecat
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