Andréa Bescond: "I was alive dead"



Vicar of Sexual Abuse as a Child, Andréa Bescond evokes with her companion and co-organizer Eric Metayerem the genesis of The Tickling (released on Wednesday, November 14).

Andrea, when there is a need to make your show "just on stage"?

Simply, I had my first child, I was pregnant with the other child, I felt loved and loved in return, it was the first time. I had to write this story and Eric (Metayer) pushed me to do it. Based on the instinctive need of a woman who finds out and who needs to talk about a painful past and an artistic shortage, she realizes another way. writing. The show was born after our collaboration Carrot,

Eric, you're the driving force

I could give gas, but the engine already existed. I did not think that what she wrote could become a book. It was in a joint overhaul that suddenly something came up that could show up on stage. However, the material was already present on paper.

Was the film a logical result of the show?

Andrea: We made the film, but did not really believe it. There were plenty of them. If the show is a success in Paris, if we lift Molière … And in fact, everything happened earlier. François Kraus and Denis Pineau-Valencienne have asked us to adapt this piece well before it was successful.

Eric: We discussed with future directors and we said to them: Do not take us as an example of what the editing of the film may be, because the ease with which we mounted is unlikely.

Why this title, tickling?

Andrea: This choice comes from my life. Because aggressors often choose a nice expression that defines unspeakable.

Eric: I specify that the full title of the show was: Tickling or dancing of anger,

Andrea: For the movie, we were only holding Carrotbecause the first thing you see is a dance of anger.

Alcohol, drugs and sex were the first curtains, with your work. Are you very deep?

Yes, like many people who were raped in childhood. The consequences of psycho-traumatism are all common to all victims of sexual violence. They have addiction, lack of self-esteem, feel dirty and less than anything else. When someone is raped in childhood, one is dehumanized, one is actually annoyed. At first, when I did not know all about it, I had to end up at the end of my life to understand that I was alive. I needed to scare, hurt, hurt others. Then I found out from the analysis that this risky behavior was quite normal because I needed to feel alive. Because I was inside the dead. Living dead. What surprised me most in my way is to see that most people I met who have more or less the same story as me have this same behavior at risk, the same dependence.

Becoming a dancer was also a way of expressing your body what your mouth could not say?

All-in-fact. Dance has always fascinated me since my three years. I did not expect this drama to happen to me. But after that, it was really a way to survive, to get back your dirty body so you can also pass this physical dance of "anger" to this negative and negative emotion. When I understood everything that happened to me.

And there, a new blow, you'll go back

He often tells me: it's great because you're resilient. But resistance is not a state. One does not mark a sign: "I am resilient". Resilience is everyday work.

In Les Chatouille, we feel parents' denial (played by Karin Viard and Clovis Cornillac) as something very violent

Andrea: He feels the facts in his own way. Mother does not support her, because she will hopefully reach her in the integrity of her mother. Maybe he thinks it's not that bad. The father is utterly overwhelmed by grief and guilt. These are two ways to cope with this violence, this kind of bomb … It took three years for the show and the film. We had a lot of talk about it. We have seen many victims and many families who have been victims, and we have realized that not only in my family but in many families, it is a real atomic bomb that causes side damage. incredible

Eric: Family and Social Bomb. First of all we say, "How did I see nothing" and we consider irresponsible parents, lax. After you have to face the eyes of others. The temptation we see in the film is often to solve this together.

Andrea: We wanted to talk about it. How others take it. How a love story is complicated for someone who was sexually abused in childhood. How we control shame.

Was Pierre Deladonchamps your first choice and why?

Andrea: We were surprised by the role of Gilbert (aggressor, family friend). We wanted someone pretty pretty at the same time a bit mysterious, charismatic, who is a sunny, perfect-looking son-in-law. But we did not think about Pierre. He's our director who offered us his name. And we thought: Of course, it holds! But after seeing the show, he told me he was afraid to take on such a role.

Eric: His fear also comes from having a daughter. He wondered how it would be, how it would be in relation to her. Then something positive happened.

Andrea: You said, "I'm doing it for herHe was asked to play Odette as if he were facing an adult with complete sincerity.

Eric: For him, in his head, it had to be a love affair with an adult whose desires and needs he fully understood. We did not want him to play like a perverse conscious that he had a baby ahead of him.

Andrea: It was necessary for this love to be legitimate for him.

How did you meet?

Eric: We met on the stage. It was in a musical Rabbi Jacob, where she was a dancer. Then I hired her to play in the room 39 steps, according to the filmHitchcock, and that was very good. But I still did not know my life.

What did you feel during the long "standing ovation" that followed after the premiere of Chatouilles at the Cannes Film Festival?

Eric: Really the first relief and a lot of gratitude. Fills the emptiness. We give the public a gift, and he did us a hundred times. It's very moving!

Interview Paul Guermonprez


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