Discover here all the press, radio, and television references of La Boîte à sel company.
“In our society, we tend to categorize everything, including what we consider to be alive or not. With our theater of connected sound objects, we listen to what weaves between the imagination of humans and objects.”
The work developed by the company La Boîte à Sel is permeated by the question of animation in the strong sense, in the idea of “giving life” and bringing the living to the forefront, including in the most unexpected places. Practicing a theater of objects and plastic explorations, Céline Garnavault meets sound creator Thomas Sillard in 2016 and discovers that sound is a “fabulous material to manipulate.” From this meeting between two worlds, a new language is born, in which connected sound objects become the actors of a living scenography: “We maintain a very special relationship with objects, which we consider as full-fledged protagonists. At La Boîte à Sel, all participants (stage management, assistance, technical…) become puppeteers.” By giving life to objects, they quickly acquire their own autonomy, indicates the director. “Research-creation underpins every project, including with the audience. This is particularly true in our latest project, ‘Bad Block,’ which is developed in a co-construction approach, in the form of laboratories where spectators are invited to manipulate sound boxes and share their sensory experience.” This theater of connected sound objects is based on a process that is often very long, requiring many trials, modifications… and a lot of back and forth between the workshop and the stage. “It’s a very meticulous and lengthy work, and this time must be valued.” The storage needs are also generally significant. All these issues that the labeling of the Jeliote space in Oloron-Sainte-Marie (and 6 other stages at the national level) can help to resolve. “Professional associations like THEMAA have done an enormous job to enhance the puppetry sector, and the community now appears to be well-coordinated. I am pleased with the platform that is being established in Nouvelle-Aquitaine: it is still in its infancy, but it is essential to create mutual knowledge among all puppetry actors, especially in a vast territory like Nouvelle-Aquitaine.”
