Coming from a multicultural background with an American mother and a French father, the artist began with literary studies then specialized in several masters: Communication and Cultural Management. During her studies, she entered a theater school, which subsequently allowed her to make short films and put thn scene Waves in 2018 as well qu” Itinerary of a young woman in a bathrobe from May 4 to 31 at the Théâtre de Belleville.
Georgia, you are an actress, dancer, photographer, yoga teacher, director and director. How have these different caps influenced your work as a director?
In my journey, there is something of the order of intuition. Things come to me and I decide, or not, to catch things in flight. I started dancing when I was very little. Then, it is from the preparatory stage that the theater arrived. At the beginning it was really painful, I was almost forced to do theater because I stuttered. It turns out that it did me a lot of good and a door opened. It was after an internship in a music turner company that I decided to only do theater, but I wanted to chart my course as an actress, already for some time. As for photography, I started, very young, by taking pictures of my sister. It all happened naturally, in fact.
Were your parents already part of the artistic world?
I consider my father to be an artist because he is a stylist by trade. He started working as a leather cutter at a very young age. When I saw him work, there was really something about the director, in the sense that he spent whole days traveling just for shopping, going to buy plays. Then he cut back, redrawn like a giant patchwork. As for my mother, she became a model in Paris, at the age of 15, and she has always evolved in the world of fashion, photography and cinema with all the pitfalls that it has when you are very young and fragile. Very gifted, she entered a prestigious photography school in the United States but she ultimately did not make it her profession.
Your creations often address the themes of the human, physical and emotional love, man and woman, sensuality. Why these themes in particular?
This relationship to the body has taken on more and more space, whereas it was not quite the case at the beginning. The practice of yoga and dance has a lot to do with it. In the first, I discovered a much more immediate access to the unconscious than psychoanalysis or reading … It’s the body! In my creation, a dialectic exists between the classic literary heritage and the immediacy of the relationship to our body. I also work on the body as a cartographer. Indeed, I think that our body offers the keys to our relationship to the world.
As a director and director, it is not always easy to find a place. Did you encounter any major difficulties?
No one has put me in the way, because with my company we have always done what we wanted, when we wanted, with whom we wanted, in the time frame we wanted. Of course, we therefore enjoy a certain freedom. However, we are in a precarious situation. Today, I would appreciate the recognition, but without losing our spontaneity, which is our strength. However, we risk putting obstacles in the way if we do not accept the real time of the institutional economy.
Can you tell us about the project STROKE which you are currently working on?
Félixe De Becker is responsible for the project, it is with her that I did The Dalle. Following this, she left to live in the United States. She submitted me a script that is close to her heart and that we continue to write together. It’s a short film that deals with an abuse in the orchestral world, so a great very charismatic conductor who has an extremely talented, persevering, ambitious assistant. It turns out that he is going to abuse her… The film is built like a great struggle, a very violent hand-to-hand combat, close to cannibalism. It is at the same time very concrete, very violent and dreamlike, even phantasmal.
Interview by Laura De Filippo
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