After ten years at the head of the National Conservatory of Dramatic Art – Paris Sciences and Letters (CNSAD – PSL), in Paris, Claire Lasne Darcueil will yield, on the evening of June 30, her chair to Sandy Ouvrier, 55 years old. An unexpected choice: unknown to the general public, the name of the new director nevertheless belongs to the history of the CNSAD – PSL. This director and actress is a former student of the school, where she studied between 1990 and 1993, before returning in 2008 to work as a teacher of interpretation. This shows his attachment to this institution and his perfect mastery of its operation.
So here she is in charge of a Conservatory which reigned for a long time (with the school of the National Theater of Strasbourg) on theatrical pedagogy but has lost its luster. The monopoly of excellence is now more than disputed by the ten higher schools of dramatic art which, in decentralization, are reinventing and revolutionizing the methods of training. Faced with this abundance of courses, candidates for actors, playwrights, directors and even scenographers are spoiled for choice.
In this energizing competitive environment, how do you get out of the game? Thanks to Claire Lasne Darcueil, the Parisian institution has opened up to more diversity and social mix. Sandy Ouvrier’s project is a continuation. The foundations are solid and the house, she says, ” is fine “.
But the future boss intends to inject her personal touch. She has “dreamed of an even brighter future for the Conservatoire”. It revolves around a Greek word: the theatron. “It’s the place from which we look at the world”, enthuses Sandy Ouvrier, who will develop this concept by multiplying the sites. She thus wants to introduce games in English, encourage multilingualism, promote a repertoire hitherto invisible, develop activities outside the walls, nurture links with cinema and science, promote inclusiveness and equality, work on ecology by changing practices.
When it comes time to trade in her teacher’s costume for the director’s clothes (which is no small feat), she knows that she will have to deal with the demands of new generations who want to be respected in their political convictions and/or identities. Their sometimes radical challenges to the works, scenes and authors studied destabilize the speakers who are on the front line. The Minister of Culture, Rima Abdul Malak, bet on the experience of a teacher broken in transmission.
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