Jean-Guy Lecat directeur technique décorateur et scénographe de Peter Brook au théâtre des Bouffes du Nord pendant 25 ans. Aujourd'hui décorateur et scénographe indépendant.
MATADERO – MADRID 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...
L’ Associazione Culturale Teatro Studio Blu invita alla festa d’ inaugurazione del nuovo spazio il Funaro Centro Culturale sabato 26 settembre 2009 dalle ore 21.00 Via del Funaro, 16/18 - Pistoia - Italia Complice e maestro di cerimonie Enrique Vargas...
In 1982/83 with the architect Roger Morgan (Philippe Lorimy who made the Bouffes's new seats came also with me), I start to transform the "New Amsterdam Theatre Roof" in 42nd street New York (Near Time square). These transformations were project to play...
Transformation of a "Gas storage tank" from 19e century to a temporary theatre for "The Tragedy of Carmen" directed by Peter Brook. · La tragédie de Carmen in Copenhagen : The Ostre Gasvaerk, an abandoned gas storage tank is situated on the periphery...
Transformation of the Teatro Argentina in Rome for "The Tragedy of Carmen" directed by Peter Brook : La tragédie de Carmen in Rome : The Teatro Argentina has long been one of the most important venues in Rome. Designed in 1730 by G. Teodoli, it was the...
For the last PQ07 in Prague with my friends Sean and Ian I built for the SCENOFEST section, a theatre with scaffolding and cardboard boxes fill with fibreglass. The idea was to be the cheapest as possible (the company gave the fibreglass and the box for...
Nouveau Théâtre Municipal d’Almada Depuis cette date je suis retourné chaque année au festival, dirigé 3 ateliers pour de jeunes architectes et metteur en scène, et fait la scénographie de deux spectacle. Par hasard j’ai été raccroché à une équipe d’architecte...
La mise en scène = le dessin d’une action dramatique. L’ensemble des mouvements, des gestes, et des attitudes ; l’accord des physionomies, des voix et des silences, c’est la totalité du spectacle scénique, émanant d’une pensée unique qui le conçoit, le...
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